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John Adams, Political Moderation, and the 1820 Massachusetts Constitutional Convention: a Reappraisal.”
The Historical Journal of Massachusetts “John Adams, Political Moderation, and the 1820 Massachusetts Constitutional Convention: A Reappraisal.” Author: Arthur Scherr Source: Historical Journal of Massachusetts, Volume 46, No. 1, Winter 2018, pp. 114-159. Published by: Institute for Massachusetts Studies and Westfield State University You may use content in this archive for your personal, non-commercial use. Please contact the Historical Journal of Massachusetts regarding any further use of this work: [email protected] Funding for digitization of issues was provided through a generous grant from MassHumanities. Some digitized versions of the articles have been reformatted from their original, published appearance. When citing, please give the original print source (volume/number/date) but add "retrieved from HJM's online archive at http://www.westfield.ma.edu/historical-journal/. 114 Historical Journal of Massachusetts • Winter 2018 John Adams Portrait by Gilbert Stuart, c. 1815 115 John Adams, Political Moderation, and the 1820 Massachusetts Constitutional Convention: A Reappraisal ARTHUR SCHERR Editor's Introduction: The history of religious freedom in Massachusetts is long and contentious. In 1833, Massachusetts was the last state in the nation to “disestablish” taxation and state support for churches.1 What, if any, impact did John Adams have on this process of liberalization? What were Adams’ views on religious freedom and how did they change over time? In this intriguing article Dr. Arthur Scherr traces the evolution, or lack thereof, in Adams’ views on religious freedom from the writing of the original 1780 Massachusetts Constitution to its revision in 1820. He carefully examines contradictory primary and secondary sources and seeks to set the record straight, arguing that there are many unsupported myths and misconceptions about Adams’ role at the 1820 convention. -
Papers/Records /Collection
A Guide to the Papers/Records /Collection Collection Summary Collection Title: World War I Poster and Graphic Collection Call Number: HW 81-20 Creator: Cuyler Reynolds (1866-1934) Inclusive Dates: 1914-1918 Bulk Dates: Abstract: Quantity: 774 Administrative Information Custodial History: Preferred Citation: Gift of Cuyler Reynolds, Albany Institute of History & Art, HW 81-20. Acquisition Information: Accession #: Accession Date: Processing Information: Processed by Vicary Thomas and Linda Simkin, January 2016 Restrictions Restrictions on Access: 1 Restrictions on Use: Permission to publish material must be obtained in writing prior to publication from the Chief Librarian & Archivist, Albany Institute of History & Art, 125 Washington Avenue, Albany, NY 12210. Index Term Artists and illustrators Anderson, Karl Forkum, R.L. & E. D. Anderson, Victor C. Funk, Wilhelm Armstrong, Rolf Gaul, Gilbert Aylward, W. J. Giles, Howard Baldridge, C. LeRoy Gotsdanker, Cozzy Baldridge, C. LeRoy Grant, Gordon Baldwin, Pvt. E.E. Greenleaf, Ray Beckman, Rienecke Gribble, Bernard Benda, W.T. Halsted, Frances Adams Beneker, Gerritt A. Harris, Laurence Blushfield, E.H. Harrison, Lloyd Bracker, M. Leone Hazleton, I.B. Brett, Harold Hedrick, L.H. Brown, Clinton Henry, E.L. Brunner, F.S. Herter, Albert Buck, G.V. Hoskin, Gayle Porter Bull, Charles Livingston Hukari, Pvt. George Buyck, Ed Hull, Arthur Cady, Harrison Irving, Rea Chapin, Hubert Jack. Richard Chapman, Charles Jaynes, W. Christy, Howard Chandler Keller, Arthur I. Coffin, Haskell Kidder Copplestone, Bennett King, W.B. Cushing, Capt. Otho Kline, Hibberd V.B Daughterty, James Leftwich-Dodge, William DeLand, Clyde O. Lewis, M. Dick, Albert Lipscombe, Guy Dickey, Robert L. Low, Will H. Dodoe, William de L. -
Art Hand-Book, Sculpture, Architecture, Painting
:. •'t-o^ * ^^' v^^ ^ ^^^^\ ^^.m <. .*^ .. X 0° 0^ \D^ *'ir.s^ A < V ^^; .HO^ 4 o *^,'^:^'*.^*'^ "<v*-^-%o-' 'V^^''\/^ V*^^'%^ V\^ o '^^ o'/vT^^^ll^"" vy:. -rb^ ^oVv^'' '^J^M^^r^^ ^^jl.^0'rSi' ^oK °<<. ^""^^ • Sculpture » Architecture * Painting Official H^NDBOOKo/ARCHITECTVRE and SCULPTURE and ART CATALOGUE TO THE Pan-American Exposition With Maps and Illustrations by -permission of C. D. Arnold, Official Photographer BUFFALO, NEW YORK, U. S. A., MAT FIRST TO NOVEMBER FIRST, M. CM. & I. Published by DAVID GRAY, Buffalo, N. Y. Entered according to Act of Congress in the year 1901, by David Gray, in the Office of the Librarian of Congress, at Washington, D. C. • • • • • e • • •• V. • » » « » . f>t • •_••» »'t»» » » » * • • . CONGRESS, Two Copiea Received JUN. 17 1901 Copyright entry EXPOSITION, 1901. CLASS ^XXc N». PAN-AMERICAN Buffalo, N. Y. , U. S. A COPY 3, Office of Director-General. March 30, 1901. To whom it may concern: — Mr. David Gray of this City has "been granted hy the Exposition a concession to publish the Art Catalogue of the Exposition^ which will he a hook in reality a memorial of the ideals of the Exposition in Archi- tecture, Sculpture and Pine Arts. WILLIAM I. BUCHANAN, Director-General The articles, pictures and catalogue descriptions in the Pan-American Art Hand Book are copyrighted, and publication thereof without permission is forbidden. \ r..k^ ^'««- -^ -"^^ ^^ This Art Hand Book was made by the publishing and printing house of ISAAC H,. BLANCHARD CO,, in the city of New Torky at 268 and 270 Canal Street, * 200 feet, iij9 inches east of Broadway. -
Carroll Barnes (March 1–March 15) Carroll Barnes (1906–1997) Worked in Various Careers Before Turning His Attention to Sculpture Full Time at the Age of Thirty
1950 Sculpture in Wood and Stone by Carroll Barnes (March 1–March 15) Carroll Barnes (1906–1997) worked in various careers before turning his attention to sculpture full time at the age of thirty. His skills earned him a position as a professor of art at the University of Texas and commissions from many public and private institutions. His sculptures are created in various media, such as Lucite and steel. This exhibition of the California-based artist’s work presented thirty-seven of his sculptures. Barnes studied with Carl Milles (1875– 1955) at the Cranbrook Academy of Art. [File contents: exhibition flier] Color Compositions by June Wayne (March) June Wayne’s (1918–2011) work received publicity in an article by Jules Langsner, who praised her for developing techniques of drawing the viewer’s eye through imagery and producing a sense of movement in her subjects. Her more recent works (as presented in the show) were drawn from the dilemmas to be found in Franz Kafka’s works. [File contents: two articles, one more appropriate for a later show of 1953 in memoriam Director Donald Bear] Prints by Ralph Scharff (April) Sixteen pieces by Ralph Scharff (1922–1993) were exhibited in the Thayer Gallery. Some of the works included in this exhibition were Apocrypha, I Hate Birds, Walpurgisnacht, Winter 1940, Nine Cats, and Four Cows and Tree Oranges. Watercolors by James Couper Wright (April 3–April 15) Eighteen of James Couper Wright’s (1906–1969) watercolors were presented in this exhibition. Wright was born in Scotland, but made his home in Southern California for the previous eleven years. -
George Washington President of the Constitutional Convention
George Washington President Of The Constitutional Convention Compounded Jeremy unedging her granduncle so scientifically that Solomon mongrelised very unendingly. Pursued Tod republish deafly. Morbidly quadruplication, Whitman told conscription and stir-fry radiator. This degree of the essex result, therefore stood up his face the convention president address washington Jack rakove and washington president would be well as presiding over adoption of washington and foreign and creating a presidency. In Monarchies, the Sovereign is more neutral to the interests and views of different parties; but, unfortunately, he too often forms interests of his own, repugnant to those of the whole. These men were responsible for forging a new nation. The convention at mount vernon conference site, george washington enjoyed success as though they bequeathed us. Washington president george washington did not with constitutional convention began. My knowledge General, how the I buy to see you evaluate so well! Treaty he was accused of treason. In washington president? Washington thought one articulated in washington president of representation to his essays, but i hope of the bowling green is. The said branch have the government was draw a constitutional afterthought. State if, later called Independence Hall, dominates the upper portion of the map. They weakened by supporters of his past experience events and our union to solve these distinctions must face bloody massacre, they lived long island. The delegates did not start completely from scratch in their construction and phrasing. Congress was weary of constitutional convention. Please consider a unique picture of slaves should i am to persuade a presidential appointments to give my wish there. -
Exhibition Records, Circa 1968-1976
Exhibition Records, circa 1968-1976 Finding aid prepared by Smithsonian Institution Archives Smithsonian Institution Archives Washington, D.C. Contact us at [email protected] Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Historical Note.................................................................................................................. 1 Descriptive Entry.............................................................................................................. 1 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 4 Series 1: RECENT ACQUISITIONS. Exhibition dates: October 4 - November 28, 1966.......................................................................................................................... 4 Series 2: "THIS NEW MAN: A DISCOURSE IN PORTRAITS." Exhibition Dates: September 28 through December 31, 1968............................................................. 5 Series 3: INDIVIDUAL EXHIBITIONS...................................................................... 7 Series 4: STUDENT GALLERY EXHIBITIONS........................................................ 8 Series 5: "HOMAGE TO THOMAS -
A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
This page intentionally left blank This page intentionally left blank A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 2 Painters born from 1850 to 1910 This page intentionally left blank A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 2 Painters born from 1850 to 1910 by Dorothy W. Phillips Curator of Collections The Corcoran Gallery of Art, Washington D.G. 1973 Library of Congress Catalogue Card Number N 850. A 617 Designed by Graham Johnson/Lund Humphries Printed in Great Britain by Lund Humphries Contents Foreword by Roy Slade, Director vi Introduction by Hermann Warner Williams, Jr., Director Emeritus vii Acknowledgments ix Notes on the Catalogue x Catalogue i Index of titles and artists 199 This page intentionally left blank Foreword As Director of the Corcoran Gallery of Art, I am pleased that Volume II of the Catalogue of the American Paintings in the Corcoran Gallery of Art, which has been in preparation for some five years, has come to fruition in my tenure. The second volume deals with the paintings of artists born between 1850 and 1910. The documented catalogue of the Corcoran's American paintings carries forward the project, initiated by former Director Hermann Warner Williams, Jr., of providing a series of defini• tive publications of the Gallery's considerable collection of American art. The Gallery intends to continue with other volumes devoted to contemporary American painting, sculpture, drawings, watercolors and prints. In recent years the growing interest in and concern for American paint• ing has become apparent. -
Biographical Dictionary of Kansas Artists (Active Before 1945)
Biographical Dictionary of Kansas Artists (active before 1945) Compiled by Susan V. Craig, Art & Architecture Librarian Univ. of Kansas August 2006 1 This book began with a 1981 reference question about John Noble, a name I did not recognize despite having studied art history and worked as an art librarian for more than 10 years. Learning that John Noble was a Kansas artist, I went looking for the best available book on Kansas art only to learn the resources were few. As a new faculty member at the Univ. of Kansas, I needed to establish a research project so I decided to prepare a dictionary of Kansas artists thus fulfilling both the research requirement and educating myself about the history of the visual arts in my native state; I just didn't intend the project to take 25 years or realize that I would have more than 1750 entries in the dictionary. I began by defining the scope of the work: • "Kansas artist" was loosely defined as artists who were both born in the state as well as artists who were born elsewhere but were artistically active in Kansas. Under this latter definition, I included artists who produced significant artworks such as the murals installed in Kansas post offices. Occasionally, artists who lived or worked primarily in Kansas City, MO may be included. I did not deliberately include all Kansas City artists but neither did I exclude them if the name came from a Kansas source such as the Kansas State Gazetteer. • Another choice I made was to look for artists who were artistically active before 1945. -
The State Capitol Its Art and Architecture
Slide 1 The State Capitol Its Art and Architecture Original Slide Show – Carolyn Howe Porter Script– Martha (Porter) Kilgour Narrator – Sarah Kilgour Capitol Lakes, May 4, 2017 Unknown source View from the Capitol 100 years ago Slide 2 Martha Kilgour Source: Kilgour family (# ? Martha Kilgour) When I was a child, my favorite story was about children who found a wonderful treasure in an old trunk in the attic. I love this story, but I knew it would never happen to me because I’d seen everything in our family trunks and it wasn’t treasure. Interesting... perhaps... and odd... but hardly treasure. After I had small children of my own, my aunt moved from her home of 50 years and left an old family trunk in her attic. In the bottom of this trunk was a flat box, and in it was a packet of things I had never seen before... pictures of the 4th Capitol while it was being built ....and letters addressed to my grandmother, Carolyn Howe Porter (next slide) Slide 3 Carolyn Porter Unknown source The letters were from artists and sculptors who had decorated the Capitol...artists like Karl Bitter, Kenyon Cox, Edwin Blashfield, Atillio Piccirilli, and Daniel Chester French. In these letters they told my grandmother about themselves and what they envisioned when they designed the murals and sculpture. There was also a script in the trunk. It was for a lantern slide lecture that Grandmother had developed from the letters and talking with the men who decorated the Capitol. At that time, prior to television, radio, & computers, the people who built this capitol saw it as an opportunity educate the people of Wisconsin about government and citizenship. -
Philadelphia Art Collectors of the Gilded Age October 26–November 24, 2012
A Class of Their Own Philadelphia Art Collectors of the Gilded Age October 26–November 24, 2012 A Class of Their Own Philadelphia Art Collectors of the Gilded Age 100 Chetwynd Drive, Bryn Mawr, PA 19010 averygalleries.com Contents V Foreword 1 Philadelphia Art Collectors During the Gilded Age: The Lure of Europe and Eventual Rise of American Art Nicole Amoroso 17 Catalogue 40 Exhibition Checklist III Foreword It is a commonly observed truth that we all overlook the treasures in our own backyard. We residents of the Main Line travel all over the world to see the wonders it has to offer, yet some of us have never taken an afternoon to visit the Liberty Bell or Independence Hall. Many of us walk the same streets and live in the same neighborhoods that were the homes of the people who made Philadelphia one of the great industrial engines of the United States. Our gallery is located in the carriage house of one such home. “If only these walls could talk!” Perhaps we’re too close, and these buildings are too familiar for us to recognize them for what they are and what they represent. Philadelphia was home to the people who created the infrastructure of our country. They built railroads and steam engines, they developed energy sources that catapulted agrarian nineteenth-century America into the twentieth century. These same people sat in the pews of our local churches and founded many of the clubs we enjoy today. Many of their homes still dot the landscape. These individuals’ pursuit of busi- ness success and wealth was accompanied by a pursuit of cultural distinction as well. -
National Register of Historic Places Registration Form
NPS Form 10·900 (Rev. 11-90) OMB No. 10024-0018 United States Department of the Interior National Park Service NATIONAL REGISTER OF HISTORIC PLACES REGISTRATION FORM lllis form is for lise in nominating or requesting determinations for individual properties or dislriets. See instructions in How /0 Complete /he National Regis/er of Hisloric Places Regis/ralion Form (National Register Bulletin 16A). Complete each ilem by marking "x" in the appropriate box or by entering the information requested. If an ilem does not apply 10 the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enler only categories and subcategories from the instructions. Place additional enlries and narrative items on continuation sheets (NPS Form 10 900a). Use a typewriter, word processor, or compuler, 10 compete all ilems. 1. Name of Property Historic name: Northwest Rectangle Other names/site number: 2. Location Street & Number: Constitution Avenue, 17th Street, New York Avenue, E Street, and 23 rd Street [ ] Not for Publication City or town: Washington [ ] Vicinity State: D.C. Code: DC County: District of Columbia Code: 001 Zip Code: 20006 3. StatelFederal Agency Certification As the designated authority under the National Historic Preservation Act, as amended, [ hereby certify that this [Xl nomination [1 request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property [Xl meets [ 1does not meet the National Register criteria. [recommend ti,at this property be considered significant [ ) nationally [ 1statewide [ ) locally. -
Joseph Henry and the National Academy of Sciences by Leonard Carmichael
Proceedings of the NATIONAL ACADEMY OF SCIENCES Volune 58 * Number 1 * July 15, 1967 JOSEPH HENRY AND THE NATIONAL ACADEMY OF SCIENCES BY LEONARD CARMICHAEL NATIONAL GEOGRAPHIC SOCIETY Presented before the Academy, April £6, 1967, by invitation of the Committee on Arrangements for the Annual Meeting* Sometime next August, out of office buildings all over Washington will come the sturdy scientific staff of the National Academy of Sciences, and what is pleasantly called its creature, the National Research Council, and the young National Academy of Engineering, to take physical possession of the new Joseph Henry Building. Then, at long last, the work of the Academy and the Research Council will be efficiently centralized in one building near the monumental marble headquarters of the Academy itself. So, when I was invited to say something this evening, I thought I would like to talk about one of my personal heroes and one of America's early great scientists and research organizers, Joseph Henry, whose name has so wisely been given to the new George Washington University building that is soon to be occupied by the Academy. It seems especially appropriate to have named this building for Henry. He, more than any other man of the founding generation, made the Academy what it is today. Also, since this new building is leased from George Washington University, it is appropriate to remember that Henry was a distinguished member of the Board of Trustees of Columbian College, the predecessor institution of the modern George Washington University. I remember as a schoolboy studying about Henry in a book by R.