ed Library The Boston Letter from edthenteum

No. 109 OCTOBER 1995

Farewell to the Last Golden Era HREE Athenreum starr members, whose combined service to the library totals nearly sixty years, will cast off for new waters during the next several months. The retirement of Eileen Higgins, Mary Kosta, and 1 orman Tucker will leave a galactic chasm within Atbenreum ranks, and one is able almost daily to feel the sands shifting under 10 1h. Beacon Street as we scramble to reassign the complicated array of duties for which they were collectively responsible. The major loss, how­ ever, will surely be a personal one both for their colleagues and Athenreun1 friends who hold them in such high regard. A reception to honor the retirees, held on one of the hottest evenings of the summer, attracted well over 200 people, a reflection of the great affection and respect in which they are all held. Records Officer Eileen Higgins, the dancing colleen of the third floor gallery, was the first to exit, on 31 July. She came to the Athenreum from the offices of the F.B.I. on 18 October 197 6, and began her tenure as a typist in the Catalogue Department; she was promoted to the position of Records Officer in 1977. Possibly more than any other staff member, Eileen had the closest relationships with Athenreum members, and was never, ever, too busy to stop and talk, or to clarify an increasingly complex variety of membership problems. A visit to Eileen's office could end with a cup of tea or tall tales of lost dogs and plumbers, but her interest in Athenreum readers went far beyond that of genial conversation. In tracking down proprietors who had not been heard from in years she was without peer. Her unearthing of the Livermore family saga, for example, utilized every bit of savvy she had acquired at the F.B.I., and was a sleuthing coup that will live long in the annals of the Records Office. Eileen supervised the corps of volunteers who worked so devotedly for her with good humor and a vivid imagination, working first \vith Volunteer Director Kay Justley and later 2~ Kay's successor Liz Driscoll to solidify the loyal group that is so critical to the effi­ ciency of the Athenreum's day-to-day business. Her tempestuous romance with the U.S. Post Office has become legend, and she is possibly the only one who fully under­ stands the intricacies of rubber band regulations and zip code separations. The work­ ers at the South Station Postal Annex will undoubted!y miss the whirlwind appear­ ances she made there to track down wayward mailbags. We are all delighted that Eileen will continue to make appearances at the Athenreum as a volunteer, if she can tear herself away from Barry's Deli in Wollaston, where she seems already to have become as much of a delightful presence as she was on the third floor gallery. Associate Director Norman Tucker, who departed on 31 August, arrived at the Athena!um on 13 October 1967, and was for six years a member of the Conservation Department. He became Research and Programs Officer in 1973, and was appointed Associate Director in 1990. During Norman's twenty-eight years at the Athenreum he has witnessed everything from liquid leather disasters to Prima Donna recitals, from leaking bathrooms to dire threats from the Fire Department. His bravest hour most certainly was spent in the habitually stalled Athenreum elevator with a former member of the staff who had just polished off two raw garlic sandwiches. He han­ dled this experience as he has handled most of his Athenreum trials, with patience, grace, and charm. Norman is probably best known as the Director's right hand man, and it is true that over the years he has been a stalwart presence in the library, whether dealing with architects, elevators, or security systems. He played a critical role in the renovation planning for the annex at 14 Beacon Street. However, the part of his job that has given him the most satisfaction is that of supervising the student interns, who come from local universities to provide vital assistance in various Athenreum departments. Nor­ man developed the student intern program in the mid-1970s, and today it is thriving, and a symbol of the Athenreum's commitment to sharing its resources with young scholars. Norman was Project Director for a number of exhibitions during his years at the Athenreum, the exhibition of Ogden Cadman's designs and "Americans in Spain" being two examples. His love of Spain has been nearly a lifelong one, and in 1980 the Spanish government made him a member of the Order of Isabel la Cat6lica, a prize bestowed upon those who have done outstanding work to promote Spanish culture. We assume that at least some of his retirement will be spent in the environs of Madrid, and his time at home will be occupied-at least in part-by the cultivation of his un­ rivaled collection of Maria Callas recordings. Mary Kosta, whose quiet presence in the Bursar's Office on the fourth floor has calmed the agitated financial waters that sometimes flood through that department, will depart at the end of October. Mary has been assistant to Bursar Bob Shields for twelve years, and during that time has been in charge of the payroll, paid all the bills, and generally freed Bob's hands to deal with thorny budget problems and issues re­ lated to the auditors. On paydays the staff awaits the sound of her footsteps with Athenreum retirees (left to right) Norn1an Tucker, Eileen Higgins, and Mary Kosta. Photograph by John Lannon, 1995. 4~ breathless impatience, as much for her smile and friendly words as for the check envelopes she has in band. The Bursar's Office faced a rna jor challenge when the ac­ counting system was dramatically streamlined and computerized during the 1980s, and Mary-who, when she came to the Athenreum, never expected to be dealing with electronic accounting problen1s such as these- quickly became computer literate and found innovative ways to adjust Athenreum accounts to the new system. Al­ though most library members never have occasion to deal with Mary directly, they may be assured that all of them benefit from her intelligent administration of com­ plex Athenreum financial matters; the staff, who know her best, are quite familiar with her talents, and the personal loss of her departure will affect every one of us. Many members have already made the acquaintance of Erin Fitts, who has taken over Eileen Higgins' duties, and Anne Schmidel, who will replace Mary Kosta, will join the staff in October. These, and other staff changes, will be featured in the next issue of A thenceum Items.

High Tech on the Phone Lines

We are pleased to report that the changes in the Athenreum's telephone system, promised in an earlier issue of Items, have actually come to pass. The streamlined communications system was activated in July, and readers should already notice a decrease in the number of busy signals they encounter when phoning the library. In August the voice mail system was activated on all staff telephone lines, enabling in­ coming callers to leave a direct message for someone who is not at his or her desk, instead of depending on those pink message slips that often got lost in the breezes. Those who are calling the Athenreum reservation line (617-227-8112) should pay attention to the vocal instructions of Events Coordinator Monica Higgins, who will talk you through the new reservation system.

The Twenty-First Century Fund Quietly Moves Ahead

Trustees G. d'Andelot Belin and Bayard Henry, co-chairs of the Twenty-First Century Fund Committee, report encouraging progress in the con1mittee's efforts to define the Athenreum's capital needs and identify ways to fund them. The Li­ brary's endowment must be increased to strengthen current, and essential new, operational activities, and funding must be found to provide housing for books in 101h Beacon and renovations in our new space in the 14 Beacon Street Annex. We hope to provide an automated catalogue system to make our holdings more easily accessible and expand our conservation department to keep these holdings healthy and viable. Several large foundation grants have enabled work to begin on converting the complete Athenreum printed collection to machine readable form? and after a year and a half we expect to have an on-line catalogue up and runnmg. Early stages of operational building and conservation improvements have ~5 also found generous financial support through gifts of cash and securities and various trusts and bequests. Please ask for the Library's planned giving booklet for further information. In due course n1embers \viii be approached for much needed support in helping to fund our capital needs. This crucial support will ensure that as the Library enters the next millennium and its own third century, it can continue to offer the community the fine services and resources that members cherish today.

Tea Time and the New Tea Card The tradition of Wednesday afternoon tea will resume on 11 October, from 3: 30 p.m. to 5:15 p.m. Chloe Turner and her crew will provide tea and the usual sweet delicacies to members and their guests each Wednesday through 29 May 1996. The contribution is $10.00, but this year we are offering a special service that we think will appeal to regular tea goers. For $50.00, a tea ticket for six teas may be purchased, which will give you one free tea for every six you attend. Look for the order form in your September tea announcement, or purchase a tea ticket on the spot when you come to tea for the first time. A special Christmas tea, complete with tree, music, and other delights, has been scheduled for Wednesday, 20 December.

Mail Alert We do from time to time have complaints from readers about the fact that they have not received Athenreum invitations or announcements of events. Eileen Higgins, prior to her departure, issued one final directive about this problem. In n1any in­ stances readers who complain about non-delivery have recently moved. But be alert: the Post Office will not forward bulk-mailed material to a new address. Only first class mail is forwarded, for up to twelve months. Bulk mail, which includes Athenreum invitations, is (as the P.O. describes it) "wasted," and you will never see it. It is therefore crucial that you inform the Athenreum Records Office of your new address when you move, in order to ensure that your invitations and announcements continue to come to you in a timely manner.

Docents Redux A reminder that training sessions for new docents will be starting soon. If you are interested in guiding weekly tours about the building, and providing aid and assis­ tance to groups who wish to know more about the library, we need you. Please call Volunteer Director Liz Driscoll at the Athenreum's central exchange, (617) 227- 0270 for details.

• 6~ Books: Si. Food: No! Readers are reminded that food and drink should not be brought to reading tables on the fifth floor, or to other areas of the building where printed material is being used. Our two delightful terraces-fifth and second floors-will be available until late October, and now that the sweltering heat has diminished somewhat, we ask that readers bring their coffee and sandwiches to either of these locales. Please help us protect our books.

In the Gallery The gallery has been dark over the summer, but happily the new fall season will soon be brightening the lights. On 12 September "The Jews of Boston," an exhibition in honor of the one-hundreth anniversary of the Combined Jewish Philanthropies of Greater Boston, will open in the gallery. Co-sponsored by the Arnerican Jewish His­ torical Society, the Boston Athenreum, and the CJ P of Greater Boston, the exhibition will feature photographs, architectural drawings, and other material relating to the Jewish presence in the city. Related events will include a lecture by Stephen Whit­ field entitled "Athens, Jerusalem, and America: The Culture of Boston's Jews," on 28 September at 6:00 p.m.; a panel discussion, "The Jews of Boston," with local scholars and historians on 19 October at 6: 00 p.m.; a bus and walking tour of his­ toric Jewish Boston (North, West, and South Ends) on 29 October from 1:00 p.m.- 5:00p.m.; and "From Jerusalem to Boston: Songs of Praise," a concert by the group Jubal's Lyre, on 16 November at 6:00p.m. Reservations should be made by calling the Athenreum's reservation line ( 617-227-8112) except for the walking tour, reser­ vations for which should be made by calling the American Jewish Historical Society at ( 617) 891-8110. We urge you once more: if you have made a reservation and find you cannot attend, please call and cancel your name so another may take your place. There is always a waiting list. Several other events have been scheduled for the autumn months. On Tuesday, 12 November, at 6:00p.m., Margaret Collins Weitz will speak on "How Women Fought to Save France, 1940-1944: The Clandestine Press." The Royal Oak Founda­ tion, which has provided the Athenreum with numerous fascinating speakers in the past, will add two more this autumn. On Friday, 3 November, at 6:00 p.m., Sir Angus Stirling, Director of the National Trust, will speak on "The Trumpet of a New Century," an all-encompassing perspective of the daily operations of the organization he heads. Christopher Rowell, National Trust Historic Buildings Representative, will deliver t\vo lectures: "The Phoenix Rises from the Ashes: The Restoration of Uppark" on Thursday, 30 November, at 6:00 p.m., and "Returning to Turner: The Redecoration and Rehanging of Petworth" on Friday, 1 December, at 6:00p.m. December will be a lively month at the Athenreum this year. In addition to the Christmas Tea on 20 December, there will be a gala tree trimming party for children ~7 of all ages on Saturday, 2 December, at 10:00 a.m. Ornament making, music, re­ freshments, and a visit from a surprise guest will highlight the day.

Special Interest Groups Gear Up for Fall We currently have four special interest groups which meet on alternate Monday evenings at 6: 00 p.m. All meetings are held in the Trustees Room on the fourth floor. The Culinary Group, the senior congregation, \Vill hold its first meeting on 23 October. At this meeting coordinator Dick Mieli will discuss his experience at the Oxford Symposium on Food and Cookery. On 20 November Cile Bellefleur Bur­ bidge will speak on her cookbook The Fine Art of Decorating. For inforn1ation about this group, please leave a message for leader Dick Mieli at the Athenreum's front desk. The Young Readers book discussion group will have its first n1eeting on 2 October. At that time Y oji Yamaguchi will discuss his first novel, Face of a Stranger. On 6 November Richard Hoffman will read from his literary memoir, Half the House. And on Monday 4 December Dan Chaon will read from his first collection, Fitting Ends and Other Stories. New members under the age of thirty-five are always wel­ come at these meetings. Poet Edward Kessler has revitalized the Poetry Reading Group, which will have its first meeting on 13 November. Attendees at this first meeting will discuss new directions and future topics for discussion. Our newest group, the "Literary Conversations" Group, will convene for the first time on 23 October. The group, led by Mary Stevens Fillman, Laurie Kent, and Athenreum staff member Lina Coffey, will explore a monthly theme, and its repre­ sentation in a novel, play, poem, or biography. The October theme is "blind al­ legiance," and the first meeting will focus on the novel Ren1ains of the Day, by Kazuo Ishiguro. Ishiguro's other novels, A Pale View of Hills and An Artist of the Floating World, also exemplify this theme. Interested members should leave their names at the first floor circulation desk.

Children's Story Time Returns Children's Story Time will resume on 6 November, and continue on the following Mondays through 4 December. Times are as follows: 3: 00-3: 30 p.m. Three year olds 3: 45-4: 20 p.m. Four and five year olds 4:30-5:00 p.m. Six, seven, and eight year olds

Please call (617) 227-8112 to reserve a place for your child. 8~ It may not be commonly known that the Athenreum holds one of the world's finest collections of the sculpture of John Frazee. In honor of the Athenreum's recent acquisition of a wonderful portrait of the sculptor by Asher Durand, Curator of Collections Michael Wentworth has produced a labor of love for this issue of lte1ns, an essay about Frazee, the villainous Col. Trumbull, and the flowering of fine art in the young American Republic. In view of the Athenreum's in1portant collection of Frazee sculpture, it is entirely suitable that he be honored with one of Mr. Went­ worth's astute artistic commentaries.

"Tonight, I was in Athens ..." When the aspiring sculptor John Frazee first saw casts after the antique at the American Academy of Fine Arts in New York, he was struck dumb with a lasting emotion. Years later he remembered: "When I entered the saloon of antique statues, what could describe my feelings at that instant! Even at this very moment I feel the sensation thrilling through me." He applied to the president of the Academy, Col. John Trumbull, for permission to draw from the works in the collection- a discipline considered essential to a sculptor's education- whereupon the colonel dismissed his request with the remark that "sculpture would not be wanted here for a century." It was a prediction "singularly unwarranted," as Henry Tuckerman later noted in a pioneering study of American artists, "by subsequent facts." When Trumbull made his remark in the 1820s, no American trained sculptor had worked in stone (Frazee would be the first), but by the time Tuckerman wrote in 1867, the country had de­ veloped what can only be described as an obsession for marble sculpture, and a mar­ moreal white silence ruled the land. John Frazee ( 1790-1852) blazed the trail, and his career was inexorably bound up with the early growth of the Boston Athenreum collections: of the baker's dozen portrait busts he executed in marble, seven were commissioned by the trustees and represent his most sustained accomplishment as a sculptor. They remain here, one of the glories of the collection, and one of the proudest examples of enlightened patronage in early nineteenth-century American art. Frazee became a New Yorker in the 1820s, and so his career was also bound up with that of the arts in New York. He soon came in contact with Col. Trumbull's American Academy, and with his opinionated views and passionate nature it was inevitable that he become embroiled in its affairs and those of its dictatorial president. The emphatically well-connected John Trumbull (1756- 1843) was an artist malgre lui if ever there was one. A son of one governor of Connecticut and the brother of another, a Harvard graduate, and one of Washington's officers in the Revolution, he was not encouraged to pursue a career in the arts, but having persisted in what even he suspected was a foolish decision, was not slow to take advantage of an ac­ cident of birth to establish himself at the social forefront of American painting, ~9 growing more intolerant and reactionary as his youthful talent faded. Throughout his life 'rrumbull had an absolute horror of being mistaken for an artist-·~you perhaps were not aware that I had not been always, nor merely, a painter," be responded with indignation to the editor of the Amer;can when it was suggested that he "'had better keep to his palette" afer one of his numerous self-serving political diatribes-and he always took what can only be described as a vindictive pleasure in doing whatever he could to discourage the artistic aspirations of others. An officer and a gentleman, he was also a snob, and ran the American Academy along lines calculated to keep the general riffraff of painters and sculptors at arm's length. He also ran it as a kind of permanent client for his own painting, and the lavish purchase of his work played no small part in its eventual bankruptcy. Trumbull's association with the Boston Athe­ nreum was happier; the Fine Arts Committee-gentlemen all-paid the huge sum of $2,500 for his Sortie of Gibraltar without a murmur, and Trumbull generously added what drawings for the picture he could find to the purchase, annotated with notes for the artistic instruction of the young. The ''Trumbull Sketchbook," dating from his finest period, is another of the early glories of the collection: one of the drawings is reproduced in the Athenreum's 50 Books, while the Sortie itself is now in the Met­ ropolitan Museum. Perhaps the only things Trumbull and Frazee bad in conm1on were an admiration for the sound of their own voices and a healthy sense of their own importance, quali­ ties that could hardly have led to close friendship. Frazee was hardly up to Trumbull's social mark, and since the colonel placed little importance on effort or achievement, he could never hope for his approbation. Frazee's peers were more generous. William Dunlap, who detested Trumbull, began his biography of Frazee in the History of Design in the United States (1834) with a passing shot at the colonel: "The strug­ gles of an individual, who appears to have every circumstance that attends his situa­ tion from earliest childhood, opposed to his well being, but who ultimately places himself in the rank of those honoured for genius and for moral conduct, must be looked upon with admiration by all; and such a one is raised, in my opinion, above the favorite of fortune, who attains equal eminence in the scale of society." Frazee is seldom a sympathetic figure, although he is nearly always a touching one. Nature made him flamboyant and melodramatic, a childhood of poverty left him suspicious and self-seeking, and as an adult his fragile ego would hide behind a thin skin and a hasty temper. But if he was touchy and quarrelsome, he was also warm hearted and loyal. He sacrificed much of his career for the good of his two wives and numerous children, and when his artistic friendships were not tom by professional jealousy they could be deep and lasting. Born in the village of Rahway, New 1ersey, in 1790 Frazee was the tenth child of a father who deserted his wife soon after his birth, leaving' the family destitute. At the age of five, Frazee was taken by his mother's mother Brookfield, and it was from the two women that he derived the little comfort his childhood afforded. Household drudgery and outdoor labor left no time for edu- 10 ~ cation, and what amusement he could snatch came from cutting silhouette forms from shingles and chalking figures on doors. Forcefully removed irom his grandmother's care by the unlucky reappearance of his father, Frazee was indentured to a farmer of vicious character, where he remained in servitude until he was nineteen. Appren­ ticed again to a bricklayer who also kept a tavern, Frazee laid bricks during the day and waited on tables at night, and the rum-sodden hopelessness he witnessed-already all too familiar from his father-placed him forever on the side of the angels. Sun­ days were his own, and he devoted himself to the high-minded pursuit of penman­ ship, choral singing, and poetry. The few books which came his way were avidly devoured, and in 1817 a chance copy of Benvenuto Cellini's autobiography struck him with the force of a revelation: hl went with him in feasting and delight: but, when we came among his statues of bronze and silver, I began to feel the inspiration of art breaking in upon my soul." Imagination and industry began to triumph over misery in 1808, when Frazee volunteered to carve a tablet for a bridge. Its success led directly to ton1bstone carv­ ing- Lorenzo Taft rightly said that for the first generation of American sculptors "the road to immortality led through the graveyard''-and by the end of 1818 the "just appreciation" of his skill in rural New Jersey had tempted Frazee to try his luck as a marble carver in New York. Going into business with his brother as W. & J. Frazee, the firm prospered throughout the 1820s, supplying chimney pieces and funerary monuments to warm fashionable New Yorkers in this life and the next, but the aspiring sculptor continued to dream of the fine arts. Cadging a piece of Italian statuary marble lying on a heap of refuse in a mason's yard, he was brought up short with a ""You carve, you Yankee Jersey man? You look: just like the carving." But he was given the marble, and he began to carve. After a false start with a head of Columbus and a failed bust of Lafayette, in 1824 Frazee received the commission for a funerary monument surmounted by a bust of the lawyer John Wells for Grace Church, and the success of his boldly uninhibited carving set him on a higher path. In 1829 he dissolved his partnership with his brother to apply himself "more closely to statuary sculpture," and soon formed a new partnership with Robert E. Launitz (1806-1870), a Russian who had arrived in New York the previous year and found employment with the Frazee brothers. Launitz had been a pupil of the Danish sculp­ tor Berte! Thorvaldsen in Rome, and Frazee must have found him a gold mine of technical and aesthetic information which can only have fueled his artistic resolve. In the early 1830s Frazee's increasing skill and confidence, together with a growing body of work, brought the commission for a bust of Nathaniel Prime, the jowly principal of Prime, Ward & King, who had retired from banking as one of the five richest men in New York. The bust came to the attention of Thomas Wren Ward, treasurer of the Boston Athenreum, when he visited Frazee's studio. Struck by Frazee's talent and devoted to the encouragement of the arts, Ward's enthusiasm for Frazee's work resulted in a commission from the trustees of the Athenreum for a bust of the revered proprietor and internationally acclaimed mathematician, Nathaniel ~ 11

Bowditch. The model was completed in a vY eck to everyone's satisfaction, and its success soon led to six other n1unificent Athenreum commissions. Frazee's new standing as a sculptor was attested by membership in the American Academy in 1825. A childhood bereft of education had left him a relentless auto­ didactic, but his desire for education in the galleries of the Academy was shared by many other artists, and it put them on a collision course with Col. Trun1bull. For if the colonel thought artists socially beyond the pale, he also considered then1 ~'unfit" to take part in the affairs of the Academy which had been founded for their en­ couragement, and as they were dispossessed they grew increasingly angry. Trumbull's notion that the Academy should buy only his own work was odd, but cotnprehensible, and his view that it should be some sort of connoisseur's club for gentlemen 'vas of­ fensive, but odder and more offensive still was his unshakable prejudice against what he called "schools." The Academy was to be a museum, for his O\Vn work whenever possible, and it was not to be thrust into a state of perpetual untidiness by artists improving themselves in the galleries to the inconvenience of ladies and gentlemen. The Academy had acquired an excellent collection of casts in 1805, selected for exhibition and study by the president who preceded Trumbull, Robert Livingston. The specific works cannot now be identified (they were destroyed in a fire in the mid­ nineteenth century), but they almost certainly represented a standard mix of famous works from the Vatican and Borghese collections which had been brought to Paris by Napoleon for the Louvre after the Treaty of Tolentino in 1798. The collection was doubtless similar to that given to the Boston Athenreum by Augustus Thorndike fifteen years later, which was made up with identical intention from the same sources. The contents of the Thorndike collection are known, although the casts themselves have also long since disappeared: the Apollo Belvedere, the Laocoon, the Medici Venus, the Borghese Gladiator, and the other usual ancient suspects. Unlike the Acaden1y, however, the Athenreum believed that the education of artists was central to its n1ission, and from the start the trustees did everything in their power to assure access to artists under the most favorable conditions. Col. Trumbull had no such intention, but by the 1824-25 season pressure was sufficient to force the Academy to open the galleries for students to draw from the casts between the hours of 6:00 and 9:00 a.m., when the fashionable world \Vas presun1ably still in bed. But even this compromise proved illusory. Students- a cat­ egory which included professionals as distinguished as Asher B. Durand-were some­ times admitted, sometimes not, and almost always had to wait an hour or more at the door until it suited the keeper to admit them. Thin~s came to a head one morning when Col. Trun1bull chanced to appear. Ready to deny others what he had gone without, he observed "When I commenced tny study of painting, there were no casts to be found in the country. I was obliged to do as well as I could," adding the snobbish enormity that the artists should remember the liberality of the gentlemen proprietors • in allowing them to use the casts at all. He concluded with memorable words for the encouragement of the door keeper: "They must remember that beggars are not to be 12 ~ choosers." The beggars were numerous and angry and splintered off to found a rival National Academy of Design, which has continued to flourish while the Academy soon fell victim to the policies of its director. Trumbull had long since done his best to discourage Frazee, whose unsophisticated enthusiasm and theatrical behavior must have set his teeth on edge, but Frazee him­ self was astute enough to see that his antipathy vvas not entirely personal. In his Memoir, he would note that he had never spoken with Trumbull about his favorite topic, "the rise and progress of the FINE ARTS," without the colonel expressing himself on the subject in "terms the most cold and discouraging,'' and it all \Vashed right over him as easily as it did numerous others. It would have taken more than cold words to chill Frazee's passion for sculpture. His soul had taken fire at the altar of the ancient world, and the colonel's disillusioned pontificating could make no inroads against the force of his excitement. Trumbull's opinions were a readily available com­ modity in artistic New York, while the sculpture of the ancient world was not, and if the outlines of neo-classic theory were perhaps a little vague to Frazee, they none­ theless had all the intoxicating freshness of a spring morning as he began to n1easure himself against them. The aesthetic surface of neo-classic sculpture can appear uneventful and seamless to a casual observer in the late twentieth century, but slightly closer inspection reveals any number of fissures beneath the chill blandness of its surface. No rift was wider than that separating the two greatest practitioners of the art, Antonio Canova ( 17 57- 1822) and Berte! Thorvaldsen ( 1770-1844), and it would have an important im­ pact on the aesthetic development of American neo-classic sculpture. Both artists were widely credited with having resurrected the "true" style of classical antiquity, but they were antithetical enough in their approach to become the readily identifiable heads of rival factions which battled it out in Rome during the first quarter of the nineteenth century, usually along national lines, with the Americans coming in firmly on the side of Thorvaldsen. Jovial ignorance sometimes added humor to the fray, as when the Emperor Francis I of Austria visited Thorvaldsen's studio in 1819 and paid him the unwelcome compliment of "Splendid! Splendid! One can see that you are a diligent pupil of Canova," but it was generally a matter of serious theoretical bicker­ ing among the cognoscenti (although Canova and Thorvaldsen simply went about their business with every appearance of cordiality). Neo-classic aesthetics are essentially an ambiguous mixture of two separate philo­ sophical aims. They can be distinguished, on the one hand, as a careful, nearly archaeological, reaction of the past as though there had been no temporal break, with the ancient world the yesterday to a nineteenth-century present. It was the course taken by the Danish Thorvaldsen in a Biedermeir time-warp that did little to encourage originality or emotion in his already stolid artistic temperament. Canova, on the other hand, sought not an inhabitable past, but a splendid present built seam­ lessly of an intense and sensual reading of the ancients combined with a response to contemporary reality. Stendhal, who understood as well as anyone the nature and t4~ 13 scope of Canova's achievement, summarized his method neatly \Vhen he said, "he did not imitate the Greeks, he did as the Greeks did: how annoying for the pedants!" Canova has always had his detractors, although contetnpt for the sensually measured elegance and the sublime finish of his sculpture hit rock bottom \vith early twentieth-century n1odernism; even in his own time his sculpture moved or annoyed depending upon one's point of view. U go Foscolo, a friend of Canova's \vho described his sculpture as having "the heat of a distant flame," once confessed that he had been moved to kiss the Venus Italica (Florence, Galleria Palatina; there is an excellent copy in the Athenreum which is exhibited in the newspaper room), and the critic Leopolda Cicognara described his Paris in the collection of the Empress Josephine at Malmaison (and now in St. Petersburg, Hermitage Museum) as looking as if it had been "formed by wearing down the surrounding marble by dint of kisses and caresses." At the same time, the sculptor Lorenzo Bartolini ( 1777-1850) described the celebrated Three Graces (much in the news after the Getty Museum in Malibu was denied an export license by the British government; it is now foolishly divided between London and Edinburgh) as looking like a bunch of carrots. Today, Canova has returned to favor with many of his contemporaries in the Italian Ottoccnto, and his name, like that of Rossini, is worth more than a smile of dismissal. The complexi­ ties of a formal and intellectual construction that sought to balance reason and pas­ sion within the aesthetic category of grace (or grazia, in the sense that Mozart would have understood it) no longer seems as decadent, empty, or irrelevant as it did to the originals and revolutionaries of a generation ago. There was clearly too much kissing and caressing, metaphysical and otherwise, in Canova to sit comfortably with the sculptors of the young An1erican Republic, to say nothing of an aesthetic development and intellectual range in his sculpture that was still quite simply beyond them. Thorvaldsen, on the other hand, was scholarly, archaeological, dry, and one-dimensional. Supressing "every sensory and emotional impulse," he clearly was the very model of a serious, god-fearing Christian sculptor the Yankees (and the Germans and the Danes) were looking for, and words such as "pure," "chaste," and "truthful" appear over and over like prize plums in the nourishing puddings his admirers served up to describe him and his work. It is hardly surprising that he found a host of followers in America. (After his death, his place was taken by Lorenzo Bartolini, an Italian revolutionary who paradoxi­ cally made his career as sculptor to Napoleon and a string of Russian princes­ and also to Mrs. Isaac Hull, whose superb bust is now in the Athenreum, one of the few works by him in an American collection. Of the artistic generation following Canova and Thorvaldsen, he diluted their pure neo-classicism with a naturalism that would have horified them both, and it informs much American sculpture later in the century with its less rigorous brand of realism.) Thorvaldsen's influence in America has been considered often and at length. It has been described as "mythic" in its proportion, and with reason, although Canova's unpopularity (after a false start; his 1818 statue of George Washington for the capi- 14 ~ tol building at Raleigh, North Carolina, enjoyed real success; it was destroyed in a fire and has been replaced by a copy) might make a more interesting, and certainly more enjoyable, topic for study. Among the first generation of American sculptors to study in Italy, Thomas Crawford (1813-1857) came to Thorvaldsen naturally through his contact with Robert Launitz in New York. Horatio Greenough ( 1805- 1852) also came under the influence of Thorvaldsen, passing on to that of Bartolini. Nonetheless, Crawford's graceful, somewhat feminine talent might have fared far better under the more sympathetic influence of Canova: the drapery in Crawford's dancing figure for the Athenreum's Anacreon, for example, might well have bene­ fited from a careful look at that of Canova's Hebe (St. Petersburg, Hermitage Mu­ seum), while Greenough's gifts, which always appear at odds with Thorvaldsen's aesthetic dryness, might have taken on greater scope and variety from Canova's broader and more flexible approach. None of this would have meant much to John Frazee, who can have known but little of Canova or Thorvaldsen first hand. In his Memoir, he suggests a certain dis­ taste for "the Roman school prior to the time of Thorvaldsen," by which we may presume he means Canova, and that he admires Thorvaldsen, but it is unlikely that either opinion was backed up with such actual knowledge. It is more probable that Frazee was simply parroting the commonplaces of fashionable taste. The casts at the American Academy in New York were his only school. There was, strangely enough, real advantage in his artistic isolation. He found himself in the position of wanting to make a Roman portrait bust without ever having seen one, and was forced to show both originality and ingenuity. He avoided the received good taste and stylis­ tic mannerisms that were the unfortunate products of a European education for many American sculptors of the next generation. He remained very much his own man, and if his portraits are sometimes a little naive, they are also full to bursting with the personality of their sitters, and the aesthetic decisions he makes in them are always honest, enthusiastic, and inspired. When Frazee arrived in Boston at the invitation of the Athenreum trustees to model a bust of Nathaniel Bowditch in 1833, he announced himself as "the first sculptor in America," but his flamboyant manner, incessant exaggeration, and lack of training (hearing the name, Bowditch had assumed Frazee was "foreign," a con­ dition he equated with "professional") convinced the venerable sitter that he was "in the hands of a charlatan." His estimation of the artist rose rapidly during the course of the sittings, and Frazee was soon on the most agreeable footing with "the old doctor." The trustees were equally pleased with the quality of the likeness, and its success led to Athenreum commissions for busts of Daniel Webster, John Marshall, John Lowell, Thomas Handasyd Perkins, William Prescott, and Joseph Story, all of which today are exhibited in the Long Room on the second floor. Frazee's production of these marble portrait busts was small, and the Athenreum holdings represent the most important collection of his work anywhere. Unfortuna­ tely, the commissions did not always proceed with all possible smoothness, and re- ASHERB.DURAND (1796-1886) lohnFrazee,Sculptor,c.l825. Oil on canvas, 29 x 23 in. Athenreun1 purchase, 1994. 16 ~ lations were sometimes strained. Frazee, difficult at the best of times- historic, tact­ less, and quick to take offense-was often disappointed in his search for commissions, pressed for money, and distracted by the demands of a growing family. He was fiercely competitive, unafraid of attacking the talent of his peers, and an unabashedly self-proclaimed genius. His career wilted in the later 1830s as foreign trained, younger artists such as Crawford and Greenough began shipping products with the status of a European finish home, and the bright promise of his Athenreum com­ missions had no sequel worthy of his talent. In 1834, William Dunlap could state with positive assurance that Frazee had "progressed to a perfection which leaves him without a rival at present in the country," but rivals with superior training, if not superior talent, soon appeared, and he lost the advantage. Nonetheless, when Frazee wrote to Seth Bass, the librarian at the Athenreum, telling him to expect "two boxes, containing each a marble bust," he could say with truth as well as pride, "you have nothing to equal them in your Athenreum." Asher Brown Durand (1796-1886), whose portrait of John Frazee has been acquired for the collection, was a man of legendary modesty and talent among his peers. Although he would become the most important painter of the Hudson River School and "the father of American landscape painting," be spent his fiist forty years as an engraver of bank notes, portraits, and subject pictures. A commission from the New York collector Luman Reed for a set of presidential portraits would appear to mark his debut as a painter (and would bring him to the Athenreum to copy Stuart's "Athenreum" portrait of Washington), but he had already executed a number of portraits for his own pleasure. Dunlap says that the portrait of Frazee was his second, following an obligatory likeness of his mother, a claim that might make one suspicious of the quality of the portrait itself, or doubtful of the accuracy of Dunlap's account. The portrait is sufficient defense of its quality, however, and Dunlap's chronology is far less suspect if we remember that Durand was already a mature artist, and quite probably the most accomplished draughtsman of his gen­ eration when he painted it. With a talent of great natural virtuosity, a shift in medium must have offered the exhilaration of challenge rather than the frustration of un­ familiar difficulties. John Frazee was unlike Durand's other sitters, and the painter's portrait of Frazee is anomalous among his works. He painted his mother in a suitable cap, and him­ self in a dark suit, obeying the unwritten law that where one might appear in a Roman toga for a portrait bust, one appeared in one's most fashionable contemporary fig for a painted portrait. Frazee, however, or perhaps the artist, opt for the ancient world, and the choice gives the picture an intensity that is rare in American por­ traits of the time, more school of David than lower Broadway, unless it be those recording the luminaries of the Park Theater or the Academy of Music. Brooding and oracular, a scroll in his sculptor's expressive hand, John Frazee stands ready "to show false art what beauty was of yore." One night during the brief rule of the Directoire, the painter Jacques Louis David ~~ 17 left a Parisian theater and, intoxicated with the spectacle of an audience in the ''Grecian" dress of the 1790s, cried out in rapture, "Tonight, I was in Athens." For a few years, the Yankee Jersey man on lower Broadway was there too.

Over the summer we have acquired an enticing array of new books~ and here follows the usual listing of

NEW BOOKS OF INTEREST SELECTED FROM THE FULL LIST OF ACCESSIONS

Art and Architecture

ADDEY, DAVID. A Voyage Round Great Brit­ GAUR, ALBERTINE. A Hic; tory of Calligraphy. ain : Sheerness to Land's End. GERMAN EXPRESSIONISM. ADRIAN!, GoTz. Cezanne Paintings. GOLDMAN, PAUL. Victorian Illustrated Books. AGAINST THE GRAIN: THE NEW CRITER­ 1850-1870. ION ON ART AND INTELLECT AT THE GOMBRICH, E. H. Shadows: The Depiction of END OF THE TWENTIETH CENTURY. Cast Shadows in Western Art. AMERICAN PAINTINGS AT THE HIGH MU­ GOULD, CECIL HILTON MoNK. PaC1lUgianino. SEUM OF ART. HAMBOURG, MARIA NoRRIS. Nadar. ANDERSON, RoNALD. James McNeill \Vhistler: HECHT, ANTIIONY. On the Laws of the Poetic Beyond the Myth. Art. BAXANDALL, MICHAEL. Shadows and En- HOUSE, JoHN. Impressionism for England: Sam­ lightenment. uel Courtauld a~ Patron and Collector. BERGMAN-CARTON, JANIS. The Woman of THE ITALIAN METAMORPHOSIS, 1943-1968. Ideas in French Art, 1830-1848. JENSEN, RoBERT. Marketing Modernism in fin- BOIME, ALBERT. Art and the French Commune. de-siecle Europe. BURNS, STANLEY B. Forgotten Marriage: The JOHN SINGLETON COPLEY IN AMERICA. Painted Tintype & the Decorative Frame, 1860- JULIUS SCHNORR VON CAROLSFELD. 1910. KIRK, MALCOLM. The Bam: Silent Spaces. BUSH, ALFRED L. The Photograph and the KONDOLEON, CHRISTINE. Domestic and Di- American Indian. vine: Roman Mosaics in the House of Dionysos. CARERI, GIOVANNI. Bernini: Flights of Love, the KOSTENEVICH, A. G. Hicden Treasures Re­ Art of Devotion. vealed: Impressionist Masterpieces and Other COX, GARDNER. Sketches from Life. Important French Paintings Preserved by the CU.MMINS, GENEVIEVE E. Chatelaines. State Hermitage Museum, St. Petersburg. DE OLIVEIRA, NICHOLAS. Installation Art. LASKO, PETER. Ars Sacra, 800-1200. DEGAS, EDGAR. Portraits. LEFRANCOIS, THIERRY. Charles Coypel: peintre DOUGLAS, CHARLOTTE. Kazim.ir Malevich. du roi, (1694-1752) . DuPREY, PIERRE DE LA RuFFINIERE. The Villas LOUGHERY, JoHN. John Sloan: Painter and of Pliny. Rebel. ENGEN, RooNEY K. Pre-Raphaelite Prints: The LYNES, GEORGE PLATT. Portrait: The Photo­ Graphic Art of Millais, Holman Hunt, Rossetti graphs of George Platt Lynes. and their Followers. LYNTON, NoRBERT. Ben Nicholson. FORD, LARRY. Cities and Buildings. MAcDONALD, .MARGARET F. James McNeill FREER, CHARLES LANG. With Kindest Regards: Whistler: Drawings, Pastels, and Watercolours. The Correspondence of Charles Lang Freer and MAcKENZIE, JOHN M. Orientalism. James McNeill Whistler, 1890-1903. MADE IN AMERICA: TEN CENTURIES OF GALLATI, BARBARA DAYER. William Merritt AMERICAN ART. Chase. 18 ~ MAHONEY, KATHLEEN. Gothic Style: Architec­ RUBIN, WaLIAM STANLEY. Les Demoiselles ture and Interiors. d'Avignon. THE MASCULINE MASQUERADE: MASCU­ RUHLING, NANCY. The Illustrated Encyclo- LINITY AND REPRESENTATION. pedia of Victoriana. McCAULEY, ELIZAB ETH ANNE. Industrial Mad­ SARPELLON, GrovANNr. Miniature Master- ness : Commercial Photography in Paris, 1848- pieces: Mosaic Glass 1838-1924. 1871. SHAND-TUCCI, DouGLASS. Ralph Adams Cram: :rvrcCONKEY, KENNETH. Impressionism in Brit- Life and Architecture. am• . SNODGRASS, CHRis. Aubrey Beardsley, Dandy MENDGEN, EvA. In Perfect Harmony: Picture of the Grotesque. & Frame, 1850-1920. SNOW, EDWARD A. A Study of Vermeer. MONTAGU, JEN NIFER. The Expression of the T ADGELL, CHRISTOPHER. The Histo!'y of Archi­ Passions: The Origin and Influence of Charles tecture in India: From the Dawn of Civilization Le Brun's Conference sur !'expression generale to the End of the Raj. et particul iere. THE TAFT MUSEUM: ITS HISTORY AND MOULIN, PIERRE. Pierre Deux's French Coun­ COLLECTIONS. try. TAYLOR, PAUL. Dutch Flower Painting, 1600- NE\VALL, CHRISTOPHER. The Grosvenor Gallery 1720. Exhibitions: Change and Continuity in the Vic­ THOMAS, ALISON. Portraits of Women: Gwen torian Art World. John and Her Forgotten Contemporaries. NICOLETTA, JULIE. The Architecture of the TYLER, RoNNIE C. Prints of the West. Shakers. VANDENBREEDEN, Jos. The 19th Century in PLATT, CoLIN. The Great Rebuildings of Tudor Belgium: Architecture and Interior Design. and Stuart England. VERDI, RICHARD. Nicolas Poussin, 1594-1665. POSTLE, MARTIN. Sir Joshua Reynolds: The VICKERS, MICHAEL J. Artful Crafts: Ancient Subject Pictures. Greek Silverware and Pottery. REILLY, ROBIN. Wedgewood Jasper. WHELAN, RICHARD. Alfred Stieglitz: A Biog­ ROBERTSON, BRUCE. Marsden Hartley. raphy. ROSENBERG, MARTIN. Raphael and France. WORSLEY, GILES. Classical Architecture in Britain.

Belles Lettres, Poetry, and Criticism

BOSWELL: CITIZEN OF THE WORLD, MAN ance: Women Preachers, Women Writers, and OF LETTERS. Nineteenth-Century Social Discourse. BUELL, LAWRENCE. The Environmental Imagi­ MERRILL, JAMES INGRAM. A Scattering of Salts: nation: Thoreau, Nature Writing, and the For­ Poems. mation of American Culture. MILOSZ, CzESLAW. Facing the River: New BUTALA, SHARON. The Perfection of the Morn­ Poems. ing: An Apprenticeship in Nature. O'CONNELL, SHAUN. Remarkable, Unspeakable COMING TO LIGHT: CONTEMPORARY New York: A Literary History. TRANSLATIONS OF NATIVE LITERA­ THE OXFORD BOOK OF EXILE. TURES OF NORTH AMERICA. RAND, AYN. Letters. DOVE, RITA. Mother Love: Poems. RICHTARIK., MARILYNN J. Acting Between the EPSTEIN, JosEPH. With My Trousers Rolled: Lines: The Field Day Theatre Company and Familiar Essays. Irish Cultural Politics, 1980-1984. FOR A LIVING: THE POETRY OF WORK. RITCHIE, ANNE THACKERAY. Journals and Let­ GOULD, JoHN. Maine's Golden Road: A Mem- . ters . Olf. ROBERTS, GARETH. The Mirror of Alchemy: GUEST, BARBARA. Selected Poems. Alchemical Ideas and Images in Manuscripts IT'S A PRINT!: DETECTIVE FICTION FROM and Books, from Antiquity to the Seventeenth PAGE TO SCREEN. Century. KAZIN, ALrRED. Writing was Everything. SOUKHANOV, ANNE H. Word Watch: The KRUEGER, CHRISTINE L. The Reader's Repent- Stories Behind the Words of Our Lives. ~t; 19 TRILLIN, CALVIN. Too Soon to Tell. Dusk \Veaving Paradise: Selected Poems of Hugo TWAIN, MARK. The Bible According to Mark Walter. Twain. WEST, DoROTHY. The R•cher, the Poorer: Sto­ WALTER, IluGo. Amaranth-sage Epiphanies of ries, Sketches, and Remmiscences.

Biography

ALLENDE, IsAB EL. Paula. LEPERE, GENE. Never Pass this Way Again. BROWN, FREDERICK. Zola. LEVI, PETER. Edward Lear. CAMP, HELEN C. Iron in Her Soul: Elizabeth LOU H.ENRY HOOVER: ESSAYS ON A BUSY Gurley Flynn and the American Left. LIFE. COLE, JOHN. As it Seemed to Me: Political MARAINI, DACIA. Bagheria. rv1emoirs. MARSH, JAN. Christina Rosetti. DARDIS, ToM. Firebrand: The Life of Horace MORRIS, JAN. Fisher's Face: Or, Getting to Live right. Know the Admiral. DELBO, CHARLOTTE. Auschwitz and After. MORRIS, \VILLIE. My Dog Skip. DIN, GILBERT C. Francisco Bouligny: A Bour­ l\10SS, RrcHARD J. The Life of Jedidiah Morse. bon Soldier in Spani~h Louisiana. NEAL, DIANE. Lion of the South: General DONOGHUE, DENIS. Walter Pater: Lover of Thomas C. Hindman. Strange Souls. RIDLEY, JANE. Young Di ~ raeli, 1804-1846. DURRELL, MARGARET. What Ever Happened to ROGERS, WILLIAM WARRf N. Black Belt Scala­ Margo? wag: Charles Hays and the Southern Repub­ DUTTA, KRISHNA. Rabindranath Tagore. licans in the Era of Reconstruction. EISENI lOWER, SusAN. Breaking Free. SAMS, ERIC. The Real Shakespeare: Retrieving FISHER, M. F. K. Last House: Reflections, the Early Years, 1564-1594. Dreams, and Observations, 1943-1991. SKLAR, KATHRYN Kisu. Florence Kelley and the GEERTZ, CLirFORD. After the Fact: Two Coun­ Nation's Work. trie::,, Four Decades, One Anthropologist. STERNLICHT, SANrORD V. All Things Herriot: GOLLAIIER, DAVID. Voice for the Mad: The James Herriot and His Peacable Kingdom. life of Dorothea Dix. UNDERHILL, Lois BEACHY. The Woman Who HANIFY, EDWARD B. Memories of a Senator: Ran for President: The Many Lives of Victoria Recollections of the Honorable David I. Walsh, Woodhull. Holy Cross Class of 1893. WAGNER-MARTIN, LINDA. Favored Strangers: HOUGII, RICHARD ALEXANDER. Captain James Gertrude Stein and Her Family. Cook. YOURCENAR, MARGUERITE. !low Many Years. KARL, FREDERICK RoBERT. George Eliot, Voice of a Century.

Children's Books

CREECH, SHARON. Walk Two Moons. MANLEY, MoLLY. Talkaty Talker. DUrFY, DEE DEE. Barnyard Tracks. MARSHALL, JANET P.CRRY. Look Once, Look HENKES, KEVIN. Protecting Marie. Twice. JENNINGS, LINDA M. Tom's Tail. !YIURPHY, JThf. The Great Fire. KESSLER, CRISTINA. One Night: A Story from PERLl\1AN, JANET. The Emperor Penguin'5 New the Desert. Clothes.

Fiction

BANVILLE, JoHN. Athena. BERGER, JoHN. To the Wedding. BAO, NINH. The Sorrow of War: A Novel of BLEVINS, \VINFRED. Stone Song. North Vietnam. CODRESCU, ANDREI. The Blood Countess. 20 ~

COOPERSTEIN, CLAIRE. Johanna: A Novel of ~1cMURTRY, LARRY. The Late Child. the van Gogh Family. MEYERS, MAAN. The Dutchman's Dilemma. CORNWELL, BERNARD. Sharpe·s Battle. MORDDEN, ETHAN. How Long H as this Been CUNNINGHAM, MICHAEL. Flesh and Blood. Going On? DIVAKARUNI, CHlTRA BANERJEE. Arranged NICHOLSON, GEOFF. Everything and More. Marriage: Stories. POWERS, RICHARD. Galatea 2.2. FORD, RICHARD. Independence Day. SCHINE, CATHLEEN. The Love Letter. GARCIA MARQUEZ, GABRIEL. Of Love and SETTLE, rv1ARY LEE. Choices. Other Demons. SHEPARD, ELIZABETH. H. GIRARDI, RoBERT. Madeleine's Ghost. SICKELS, NoELLE. Walking West. GORDON, NEIL. Sacrifice of Isaac. SKINNER, MARGARET. Old Jim Canaan. HARRISON, KATHRYN. Poison. SMITH, J . P. Breathless. HARTLING, P ETER. Schubert: Twelve Moments SMITH, WILB UR A. River God. Musicaux and a Novel. TAYLOR-HALL, MARY ANN. Come and Go, HIGGINS, GEORGE V. Swan Boats at Four. Molly Snow. HIGHSMITH. PATRICIA . Carol. THAYE R, NANCY. Belonging. KING, STEPHEN. Rose Madder. TROLLOP£, JoANNA. The Best of Friends. LEE, CHANG-RAE. Native Speaker. WEBER, KATHARINE. Objects in Mirror are LODGE, D AVlD. Therapy. Closer than They Appear. LOUIE, ANDREA. Moon Cakes. WELDON, FAY. Splitting. LYNCH, GERALD. Troutstream. WINTON, TIM. The Riders.

Mysteries and Thrillers

ALCOTT, LoUISA MAY. Louisa May Alcott Un- l-IARD-BOILED: AN ANTHOLOGY OF AMER- masked: Collected Thrillers. fCAN CRIME STORIES. AR1viSTRONG, CAMPBELL. Jigsaw. HIGHSMITH, DoMINI. Keeper at the Shrine. BEATON, M. C. Death of a Nag. HILL, R EG INALD. Born Guilty. BECK, K. K. Cold Smoked. HYDE, ANTHoNY. Formosa Straits. BLOCK, LAWRENCE. The Burglar Who Thought JEVONS, MARSHALL. A Deadly Indifference. He was Bogart. KILMER, NICHOLAS . H armony in Flesh and BRETT, SIMON. Singled Out. Black. CORNWELL, PATRICIA DANIELS. From Potter's LAWTON, JOHN. Black Out. Field. LEE, BARBARA. Death in Still Waters. CURZON, CLARE. Nice People. LEONARD, ELMORE. Riding the Rap. DEIGHTON, LEN . Faith. LESCROART, JoHN T. A Certain Justice. DOBYNS, STEPHEN. Saratoga Fleshpot. LEUCI, BoB. Fence Jumpers. DUNN, CAROLA. The Winter Garden Mystery. MARSTON, EDWARD. The Roaring Boy. DUNNlNG, JoHN. The Bookman's Wake. McGOWN, JILL. A Shred of Evidence. FERRARS, E. X. A Hobby of Murder. Mc iNERNY, RALPH M. Law and Ardor. FIECHTER, JEAN JACQUES. Death by Publica- O'CONNELL, CAROL. The Man who Cast Two tion. Shadows. FREELING, NICOLAS. The Seacoast of Bo- PARKER, RoBERT B. Thin Air. hemia. PATON WALSH, JILL. A Piece of Justice. GILBERT, MICHAEL FRANCIS. Ring of Terror. RIGBEY, Lrz. Total Eclipse. GRACE, C. L. The ,Merchant of Death. ROSS, KATE. A Broken Vessel. GRIMES, MARTHA. Rainbow's End. THOMAS, CRAIG. A Wild Justice. WHELAN, HILARY. A Shoulder to Die On.

History

ABURISH, SAID K. The Rise, Corruption, and CULTURE, AND CARTOGRAPHY IN THE Coming Fall of the House of Saud. LAND OF NORUMBEGA. AMERICAN BEGINNINGS: EXPLORATION, AMERICA'S WORKING WOMEN: A DOCU- MENTARY HISTORY, 1600 TO THE PRES­ GOODMAN, GEORGE J . Retracing J\tajor Ste­ ENT. phen H. Long's 1820 Expedition. ASH, JoHN. A Byzantine Journey. INNES, STEPHEN. Creating the Commonwealth: ASHRA WI, HANAN. This Side of Peace: A Per­ The Economic Culture of Puritan New England. sonal Account. JAMES, PETER. Ancient Inventions. BABEL. I. 1 920 Diary. JOHNSON, CHALMERS A. Japan, \Vho GoYern ?: BEER, SAMUEL HuTCHISON. To Make a Nation: The Rise of the De' elopmcntal State. The Rediscovery of American Federalism. KINEALY, CHIUSTINC. This Great Calamity: The BERENGER, JEAN. A History of the Habsburg Irish Famine, 1845-52. Empire. LANDSCAPES OF THE CIVIL \VAR: NEWlY BOYM, SvETLANA. Common Places: Mytholo- DISCOVERED PHOTOGRAPH~ FROM THE gies of Everyday Life in Russia. MEDFORD HISTORICAL SOCIETY. BOYNE, WALTER J. Clash of Titans: World War LEE, BRUCE. .Marching Orders : The Untold II at Sea. Story of World \Var II. BROWN, DoNA. Inventing New England: Re­ LYNTON, f\1ARK. Accidental Journey: A Cam­ gional Tourism in the Nineteenth Century. bridge Internee's Memoir of World War II. CLARKE, W. The Lost Fortune of the Tsars. Me AMARA, RoBERT S. In Retrospect: The COHEN, I. BERNARD. Science and the Founding Tragedy and Lessons of \ ictnam. Fathers. O'CONNOR, MALLORY McCANE. Lost Cities of CONROY, DAVID W. In Public Houses: Drink the Ancient Southeast. & the Revolution of Authority in Colonial Mas­ O'CONNOR, THOMAS H. The Boston Irish: A sachusetts. Political History. COOK, DoN. The Long Fuse: England and PEMBLE, JoHN. Venice Redi ~ covered. America, 1760-1785: A British Perspective on the PORTER, RoY. London. a Social History. American Revolution. RENEHAN, EDWARD. The Secret Six: The True COOMBES, ANNIE E. Reinventing Africa: Mu­ Tale of the Men Who Conspired with John seums, ,Material Culture, and Popular Imagi­ Brown. nation in Late Victorian and Edwardian Eng­ RHODES, RICHARD. Dark Sun: The Making of land. the Hydrogen Bomb. CRUCIBLE OF EMPIRE: THE SPANISH­ RICHELSON, JEFrREY T. A Century of Spies: AMERICAN WAR & ITS AFTERMATH. Intelligence in the Twentieth Century. DAVENPORT, ALLEN. Life and Literary Pur­ SALE, KtRKPATRlCK. Rebels Against the Future: suits. The Luddites and Their War on the Industrial DUNLOP, M. H. Sixty Miles from Content­ Revolution. ment: Traveling the Nineteenth-Century Ameri­ SLOAN, W. DAVID. The Early American Press> can Interior. 1690-1783. DZIELSKA, MARIA. Hypatia of Alexandria. SOLDIERS SERVING THE NATION. FAIRCLOUGH, ADAM. Race & Democracy: The SOLOTAROFF, PAUL. House of Purple Hearts: Civil Rights Struggle in Louisiana, 1915-1972. Stories of Vietnam Vets Who Find Their Way FISCHER, KLAus P. Nazi Germany: A New Back. History. TINDALL, GILLIAN. Celestine: Voices from a FISHER, MARC. After the Wall: Germany, the French Village. Germans, and the Burdens of History. WEINTRAUB, STANLEY. The Last Great Vic­ FLETCHER, W. A. Rebel Private, Front and tory: The End of World War II, July-August Rear: Memoirs of a Confederate Soldier. 1945. FRANKLIN, JoHN HoPE. Reconstruction After WELLS, CHARLOTTE CATHERINE. Law and Citi­ the Civil War. zenship in Early Modern France. GARRISON, WlLLIAM LLOYD. William Lloyd WIEBE, RoBERT H. Self-Rule: A Cultural His­ Garri~on and the Fight Against Slavery: Selec­ tory of American Democracy. tions from The Liberator. WOOD, DAVID BowNE. A Sen::,e of Values: GELERNTER, DAVID HILLEL. 1939, the Lost American Warriors in an Uncertain World. World of the Fair. 22 ~ Music

BEIT~1AN , Orro. Johann Sebastian Bach as ond Symphony of Johannes Brahms. His World Knew Him. ROTHSTEIN, EDwARD. Emblems of Mind: The BRINKMANN, REINHOLD. Late Idyll: The Sec- Inner Life of Music and Mathen1atics.

Philosophy, Psychology, and Religion

ARISTOTEI IAN AND CARTESIAN LOGIC AT PECK, M. Scorr. In Search of Stones: A Pil­ HARVARD. grimage of Faith, Reason, and Discovery. FULLER, RoBERT C. Naming the Antichrist: The RAMSAY, WILLIAM M. The Westminster Guide History of an American Obsession. to the Books of the Bible. HASTINGS, ADRIAN. The Church in Africa: UNDERSTANDING THE DEAD SEA 1450-1950. SCROLLS. PAGELS, ELAINE. The Origin of Satan.

Social Issues, Education, Government, Law

BEATTY, BARBARA. Preschool Education in KAMINER WENDY. It's All the Rage: Crime America: The Culture of Young Children from and Culture. the Colonial Era to the Present. KARLEN, ARNo. Man and Microbes: Diseases BRIMELOW, PETER. Alien Nation: Common and Plagues in History and Modern Times. Sense about America's Immigration Disaster. McCLOSKEY, RoBERT G. The American Su­ BURGER, WARREN E. It Is So Ordered: A Con­ preme Court. stitution Unfolds. MONES, PAUL A. Stalking Justice. CUOMO, GEORGE. A Couple of Cops: On the PALMIERI, PATRICIA ANN. In Adarnless Eden: Street, In the Crime Lab. The Community of Women Faculty at Welles­ EICHENW ALD, KURT. Serpent On the Rock. ley. FISHER, Lours. Presidential War Power. SMITH, HEDRICK. Rethinking America. HANDELMAN, STEPHEN. Comrade Criminal: SMITH, PAGE. Democracy on Trial: The Japa­ Russia's New Mafiya. nese-American Evacuation and Relocation in World War II.

Miscellaneous

ANGIER, NATALIE. The Beauty of the Beastly: ELECTRONIC INFORMATION DELIVERY: New Views on the Nature of Life. ENSURING QUALITY AND VALUE. BASBANES, NICHOLAS A. A Gentle Madness: GARRETT, LAURIE. The Coming Plague: Newly Bibliophiles, Bibliomanes, and the Eternal Pas­ Emerging Diseases in a World Out of Balance. sion for Books. HAYS, DAVID. My Old Man and the Sea: A BRICKELL, CHRISTOPHER. Christopher Brick­ Father and Son Sail Around Cape Horn. ell's Garden Plants. HIGGINS, To:M. Spotted Dick, s'il vous plait: BUCHHOLZ, ToDD G. From Here to Economy: An English Restaurant in France. A Shortcut to Economic Literacy. HOLLAND, BARBARA. Endangered Pleasures: In CANER, GEORGE C. History of the Essex County Defense of Naps, Bacon, Martinis, Profanity, Club, 1893-1993. and Other Indulgences. DICKINSON, DoNALD C. Henry E. Huntington's LEV ARIE, NoRMA. The Art & History of Books. Library of Libraries. MASSON, J. MoussAIEFF. When Elephants DRUCKER, JoHANNA. The Alphabetic Laby- Weep: The Emotional Lives of Animals. rinth: The Letters in History and Imagination. O'NEILL, MoLLY. A Well-considered Appetite: EARLE, SYLVIA A. Sea Change: A Message of Recipes From an American Kitchen. the Oceans. PAGE, JosEPH A. The Brazilians. ECHIKSON, WILLIAM. Burgundy Stars: A Year PARKS, TIM. An Italian Education: The Further in the Life of a Great French Restaurant. Adventures of an Expatriate in Verona. ~ 23 PYN'E, STEPHEN J. World Fire: The Culture of Americans and the Holy Land in the Nineteenth Fire on Earth. Century. RENDELL, KENNETH W. History Comes to Life: WALLERSTEIN, JUDITH S. The Good Marriage: Collecting Historical Letters and Documents. Huw and Why Love Lasts. VOGEL, LESTER IRWIN. To See a Promised Land: WEINER, TIM. Betrayal: The Story of Aldrich Ames, an American Spy.