Emerson's English Traits and the Paradox of Empire

Total Page:16

File Type:pdf, Size:1020Kb

Emerson's English Traits and the Paradox of Empire Emerson’s English Traits and the Paradox of Empire susan l. roberson ALPH WALDO EMERSON begins English Traits (1856) R by recalling his earlier voyage to the island: “I have been twice to England. In 1833, on my return from a short tour of Sicily, Italy, and France, I crossed from Boulogne and landed 1 in London at the Tower stairs.” “I find nothing in my memo- randa of visits to places,” he reports of his first sojourn. “But I have copied the few notes I made of visits to persons” (p. 502), of Wordsworth’s “green goggles,” of Carlyle “full of lively anec- dote,” and of the talk of books he shares with them (pp. 509, 507). These appealing vignettes describe “the meeting between an intelligent young American . and the literary lights of the day,” including as well Horatio Greenough, Walter Savage Lan- 2 dor, and Samuel Taylor Coleridge. In the second chapter of English Traits, concerning his second visit to England in 1847, Emerson details in fairly conventional terms the hazards of a sea voyage, “one of the severest tests to try a man.” Noting that the English are a “seafaring people, who for hundreds of years claimed the strict sovereignty of the sea,” he remarks succinctly 3 that “the sea is bounded by his majesty’s empire” (p. 517). By 1 Ralph Waldo Emerson, English Traits, in Selected Writings of Emerson, ed. Donald McQuade (New York: Modern Library, 1981), p. 501. Hereafter cited in the text. 2 Susan Castillo, “‘The Best of Nations’? Race and Imperial Destinies in Emerson’s English Traits,” Yearbook of English Studies 34 (2004): 103. 3 As Curtis Fukuchi has observed, the strength and dangers of the sea in En- glish Traits are, metaphorically, “the sources of English power” (“ ‘The Only Firma- ment’: ‘Sea-Room’ in Emerson’s English Traits,” American Transcendental Quarterly 1.3 (September 1987): 197. The New England Quarterly,vol.84,no.2 (June 2011). C 2011 by The New England Quarterly. All rights reserved. 265 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/TNEQ_a_00089 by guest on 26 September 2021 266 THE NEW ENGLAND QUARTERLY referring not only to his own journey but to England’s mar- itime superiority, Emerson announces that, even though later essays take up a number of diverse subjects, English Traits should be viewed as a travel book, a book about travel and transportation. The structure of English Traits has, as a whole, puzzled read- ers, in part because a number of its essays contemplate matters such as race, character, and manners. In his review for Putnam’s Monthly, Parke Godwin called English Traits “a miscellany of 4 remarks on one topic.” Yet the book does meet certain con- temporary expectations of travel writing. Visiting Stonehenge with Thomas Carlyle, Emerson situates himself as a tourist who takes measure of the monument for readers back home: “Stonehenge is a circular colonnade with a diameter a hundred feet, and enclosing a second and a third colonnade within” (p. 648). Sophia Hawthorne was similarly precise when she gauged the width along the “west front” of an English cathedral at “174 feet” and described the “sacred place” as “great spoil for Henry 5 the Eighth.” Attention to details of landscape, architecture, and history was typical for the period, as was a factual, linear rendition of the journey (“On leaving Wilton House, we took the coach for Salisbury” [p. 653]). As their still relatively young nation struggled to find its place in the world, Americans took vicarious satisfaction from reports that their upper- and middle-class elites were proving ade- quate to European sophistications and expectations. And so in “Personal,” Emerson assures his countrymen that “My journeys were cheered by so much kindness from new friends, that my impression of the island is bright with agreeable memories” (p. 656), just as Harriet Beecher Stowe, who also toured England as an invited speaker, commented in Sunny Memories of For- eign Lands (1854), “A circle of family relatives could not have 6 received us with more warmth and kindness.” Although the 4 Parke Godwin, quoted in Castillo, “The Best of Nations,” p. 100. 5 Sophia Hawthorne, Notes in England and Italy (New York: G. P. Putnam and Sons, 1869), p. 37. 6 Harriet Beecher Stowe, Sunny Memories of Foreign Lands, vol. 1 (Boston: Phillips, Sampson, and Company, 1854), p. 22. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/TNEQ_a_00089 by guest on 26 September 2021 EMERSON AND EMPIRE 267 passage of time has blunted the significance of such remarks for twenty-first-century readers, we need only consider our own society’s penchant for celebrity gossip to understand how they might have been understood in the antebellum United States. Emerson was a famous man, and his contemporaries wanted to know about his comings and goings as well as his opin- ions about what he saw and whom he met. Evidently Emer- son did not disappoint, for English Traits was, in fact, “the most eagerly anticipated and one of the most successful of his 7 publications.” In addition to presenting Emerson as a privileged and yet quintessential American tourist, English Traits exemplifies the ways in which overseas travel writing moves him to ponder his home country and national identity. When Alfred Bendixen re- flects on English Traits as travel writing, he notes that “it is also quite characteristic of the American travel writer who is torn between admiring foreign achievements and defending Amer- 8 ican values.” And as Terry Caesar argues, “Americans write of travel abroad, for better or worse, in order to be responsi- 9 ble to their national identities.” Just so, Emerson celebrates the “great sloven continent” of America, which has “long since driven away the trim hedge-rows and over-cultivated garden of England,” national differences to which he has become “quite too sensible” during his sojourn (p. 655). Thus, at the same time that Emerson is contemplating what makes “England, England” (p. 518), he is also thinking about what makes America, Amer- ica. Emerson’s use of such traditions of nineteenth-century travel writing, then, asks us to consider English Traits as a travel book, albeit an unconventional one. But what also rec- ommends English Traits as an example of travel writing—and recommends it especially to our present age—is its insistent 7 Robert E. Burkholder, “The Contemporary Reception of English Traits,”inEmer- son Centenary Essays, ed. Joel Myerson (Carbondale: Southern Illinois University Press, 1982), p. 156. 8 Alfred Bendixen, “American Travel Books about Europe before the Civil War,” in The Cambridge Companion to American Travel Writing, ed. Bendixen and Judith Hamera (Cambridge: University of Cambridge Press, 2009), p. 122. 9 Terry Caesar, Forgiving the Boundaries: Home as Abroad in American Travel Writing (Athens: University of Georgia Press, 1995), p. 5. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/TNEQ_a_00089 by guest on 26 September 2021 268 THE NEW ENGLAND QUARTERLY concern with transportation and the flow of goods, institutions, and peoples around the globe. Most of the nineteen essays that form English Traits contain some reference to England as a seafaring nation or as the cen- ter of global commerce, if not as a colonial empire. England’s history as an island that was originally colonized by various continental forces and subsequently extended its own energy outward to the rest of the world is, for Emerson, what sets it apart as a nation. In his essay on “Race,” he claims that “The English derive their pedigree from such a range of nationalities that there needs sea-room and land-room to unfold the varieties of talent and character” (p. 527); in “Ability,” he comments on England’s “commercial relations to the world,” by means of which they “have made the island a thorough fare, and London a shop” (p. 549); in “Character,” he comments on the colonizing activities of the English, how “[t]hey subsidize other nations” and administer their codes around the world (p. 573); in “Cock- ayne,” he calls the founding saints of England and America, St. George and Amerigo Vespucci, traveling rogues and thieves; in “Wealth,” he examines London’s role in the global econ- omy; and in “Result,” he critiques England’s foreign policy and alludes to the paradox of empire: that the English have an “in- stinct for liberty and law” as well as an instinct for “conquest” (p. 663). As he repeatedly attempts to understand “why En- gland is England” (p. 518), Emerson returns again and again to England’s position as a seafaring, commercial nation that trans- ports its goods and institutions “into every nook and corner of the earth” (p. 571). Exerting an astounding influence, the em- pire, by Emerson’s estimate, accounts for “perhaps a fifth of the population of the globe” (p. 523). Stressing the point that migration involves more than people alone, twentieth-century critic Arjun Appadurai refers to these various emigrating influ- ences as ethnoscapes, finanscapes, and ideascapes, an approach to critiquing globalization and empire that Emerson anticipates 10 in his 1856 travel book. 10 Arjun Appadurai, “Disjuncture and Difference in the Global Cultural Economy,” Public Culture 2.2 (Spring 1990): 7. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/TNEQ_a_00089 by guest on 26 September 2021 EMERSON AND EMPIRE 269 In his 2002 economic history, Empire: The Rise and Demise of the British World Order and the Lessons for Global Power, Niall Ferguson asks two questions that not only relate to our early-twenty-first-century understanding of global power but that resonate throughout Emerson’s book: “Why should Amer- icans care about the history of the British Empire?” and “Was 11 the British Empire a good or bad thing?” As for its negative aspects, Ferguson faults the British Empire for its “involve- ment in the Atlantic slave trade and slavery itself” (pp.
Recommended publications
  • Home Ports and Fast Sailing Ships: Maritime Settlement and Seaborne Mobility in Forming the Comparative Wests William M
    Home Ports and Fast Sailing Ships: Maritime Settlement and Seaborne Mobility in Forming the Comparative Wests William M. Taylor ABSTRACT: The contribution of the sea and seafaring to the construction of modernity has recently been reappraised. Opposing narratives of the geographical (particularly terrestrial) and temporal co- ordinates of modernity’s progress, the fluidity of “ocean-space,” and “maritime criticism” have been proposed to challenge conventional readings of established archives and question consensual under- standings of the fundamental territoriality, geographic enlargement, and progressive development of nation-states. This essay questions how this reappraisal of the sea may be relevant to the study of the “comparative Wests.” Specifically, it considers how aesthetic and ethical possibilities for maritime crit- icism may reveal gaps or omissions in the historiography of the neo-European settlement and nine- teenth-century territorial expansion of the United States and Australia. My primary focus is Lewis Mumford’s writing on American culture, architecture, and design. I question how Mumford’s appropriation of nineteenth-century aesthetic criticism, particularly writing extolling the virtues of colonial American ships and seafaring, may be indicative of tensions at work between opposing organic and globalized, geographically closed and unbounded, moral and econom- ic perspectives on a nation’s progress, development, and growth—between a critical emphasis on “roots” of culture and “routes” of seaborne exchange. If it is true, as Philip Fisher asserts, that the story of American society is largely a history of the nation’s transport, then what stories do the systems and technology of seaborne mobility tell us? SAILING SHIPS (ALONG WITH SEAFARING AND NAVIGATIONAL PRACTICES) were one princi- pal means whereby neo-European settlement was established in the multiple “Wests” imagined and occupied by colonialists and, as such, were engaged in the negotiation of difference.
    [Show full text]
  • Greenough's Theory of Beauty
    GREENOUGH'S THEORY OF BEAUTY IN ARCHITECTURE* ORATIO GREENOUGH was born in Boston, Sep- H tember 6, 1805, one of eleven children of a successful self-made man who dealt in real estate and built some of the houses in Colonnade Row. Horatio studied at Harvard in the early 1820's. This was evidently a difficult time in the history of the great university. He describes his educa- tion there in the following manner: "Fain would I also lay cIairn to the title of self-made man; indeed, I graduated at Harvard . which they who knew the scliool will allow was near enough self-making to satisfy any reasonable am- bition."' Greenough left before the end of his senior year for Italy, his diploma following after; he was determined to be a sculptor and could not begin too soon. He had encourage- ment from Washington Allston, and letters of introduction and recommendation to Thorwaldsen in Rome. In 1829 he set up a studio in Florence, where he became, "in a manner," as his brother Henry said, "a pupil of Bartolini," an Italian portrait sculptor whose work he admired; and in the course of the next twenty-two years, most of which he spent in Florence, he produced many portrait busts on commission, also full-lengths, and several imaginative groups, single fig- ures and bas-reliefs. His sitters, abroad or at home, included John Quincy Adams, Lafayette, and James Fenimore Cooper. For Cooper he produced the "Chanting Cherubs," the first marble group from the chisel of an American artist. Allston wrote to Daniel Webster recommending Greenough to exe- " A public lecture delivered at the Rice Institute on November 11, 1951, 96 Greenough and Beauty in Architecture 9'7 cute a statue of George Washington for the government; Cooper and Edward Everett backed the recommendation, and the result was the seated figure, 11 feet 4 inches high, intended for the rotunda of the Capitol, which is now in the Smithsonian Institution.
    [Show full text]
  • C. 1820 Plaster;Marble;Plaster;Plaster;Painted Plaster, Hollow Bust;Bust;Bust;Bust;Bust
    FRENCH SCULPTURE CENSUS / RÉPERTOIRE DE SCULPTURE FRANÇAISE cast made in 1819-1820 from 1818 marble;1818;1819;1818;c. 1820 plaster;marble;plaster;plaster;painted plaster, hollow bust;bust;bust;bust;bust 3 1 7 3 7 1 25 x 20 x 14 in.;25 ?16 x 20 ?16 x 10 ?8 in.;26 ?16 x 19 ?8 x 9 ?16 in.;24 x 17 x 10; 1 base: 5 x 9 ?2 x 8 in. inscribed on base: J.B. BINON / BOSTON;signed front of base: JB BINON;on left end of base: J.B.Binon / Boston Acc. No.: 2002-20;UH176;P50;1935.006 Credit Line: Gift of the artist, 1819 (UH176);Harvard University Portrait Collection, Gift of the Hon. John Davis to the University, 1819;Gift of the New Hampshire Society of Cincinnati Photo credit: © Thomas Jefferson Foundation at Monticello ;ph. Wikimedia/Daderot;photograph by Jerry L. Thompson;ph. courtesy New Hampshire Historical Society © Artist : Provenance 1818-1820, cast made from marble bust at Faneuil Hall, Boston 1825, given to Jefferson by Benjamin Gould;bust acquired by 215 subscribers to be exhibited at Faneuil Hall, Boston;1819, Gift of the artist;c. 1902, Placed in Cincinnati Memorial Hall by Col. Daniel Gilman (1851-1923), the grandson of Nathaniel Gilman (1759-1847), a younger brother of John Taylor Gilman 1935, Given to the New Hampshire Historical Society by the New Hampshire Society of Cincinnati with the approval of Daniel Gilman's son, Daniel E. Gilman (1889-1978) Art historian William B. Miller, Colby College, suggested this bust was done posthumously in Portland, Maine, in 1850-1852.
    [Show full text]
  • The Democratization of American Art
    THE DEMOCRATIZATION OF AMERICAN ART HORATIO GREENOUGH’S GEORGE WASHINGTON AND THE ERA OF THE COMMON MAN DYLAN THOMAS STROUD 2017 WASHINGTON & LEE UNIVERSITY ACKNOWLEDGMENTS This thesis would not be as it is without Professor Andrea Lepage and Professor Elliott King’s valuable assistance. The quality of this examination is indebted to the insights of Professor George Bent, who served as my advisor and mentor throughout the course of the project, and whose edits and commentary greatly influenced the course of this undertaking. This work is dedicated to my parents, Karen and Stephen Stroud, whose love and support made my enriching athletic and academic experience at Washington & Lee University possible. 2 TABLE OF CONTENTS Introduction .................................................................................................................................... 4 The Artist and Sculpture ............................................................................................................. 10 The Reception .............................................................................................................................. 23 Art in Jacksonian America .......................................................................................................... 32 Conclusion ................................................................................................................................... 39 Works Cited ................................................................................................................................
    [Show full text]
  • The Ardent Functionalist Maintains That
    THE ARDENT FUNCTIONALIST MAINTAINS THAT BEAUTY, OR AT LEAST A KIND OF FORMAL PERFECTION, RESULTS AUTOMATICALLY FROM THE MOST PERFECT MECHANICAL EFFICIENCY; PERFECTLY ENGINEERED CREATIONS ACHIEVE BEAUTY WITHOUT A CONSCIOUS SEARCH FOR IT ON THE PART OF THE DESIGNER. GAS REFINING EQUIPMENT AT THE KATY GAS CYCLING PLANT, TEXAS, OPERATED BY THE HUMBLE OIL AND REFINING COMPANY, IS A CONVINCING DEMONSTRATION OF THIS POINT OF VIEW. ORIGINS O F FUNCTIONALIST THEORY EDWARD ROBERT DE ZURKO * COLUMBIA UNIVERSITY PRESS * NEW YORK 1957 AI ft ~'£Du ■ 3 > i /9s 7 © COPYRIGHT 1957 COLUMBIA UNIVERSITY PRESS PUBLISHED IN GREAT BRITAIN, CANADA, INDIA, AND PAKISTAN BY THE OXFORD UNIVERSITY PRESS LONDON, TORONTO, BOMBAY, AND KARACHI MANUFACTURED IN THE UNITED STATES OF AMERICA to HATTIE LEHMAN DE ZURKO ACKNOWLEDGMENTS It has been an inspiration to observe how scholars everywhere have been willing to offer helpful advice when requested to do so. The list below does not by any means include all the men to whom I am indebted either for general suggestions or details of treatment, but with warm thanks I wish to acknowledge the encouragement and advice of the following: Dr. Walter W . S. Cook, former Director of the Institute of Fine Arts of New York University, where an earlier version of this manuscript was submitted as a doctoral dissertation, and Dr. Cook’s successor, Professor Craig Hugh Smyth; Dr. Richard Krautheimer and Dr. Guido Schoenberger of the Institute of Fine Arts; the late Talbot Faulkner Hamlin and Professor Emer­ son Howland Swift of Columbia University; Professor James Grote Van Derpool and Mr. Adolph Placzek of Avery Library, Co­ lumbia University; the late Dr.
    [Show full text]
  • In Greenough's Thoughts on Architecture
    QUESTIONING HORATIO GREENOUGH'S THOUGHTS ON ARCHITECTURE by Erdem Erten Bachelor of Architecture Middle East Technical University Ankara, Turkey June, 1994 Submitted to the Department of Architecture in partial fulfilment of the requirements for the degree of Master of Science in Architecture Studies at the Massachusetts Institute of Technology June, 1998 © Erdem Erten, 1998. All rights reserved The author hereby grants to M.I.T permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part Signature of the Author Erdeji Erten Denartment of Architedtre Mad R 1098 Certified by iviarK jarzomoek Associate Professor o ory and Architecture Thesis Sunervisor Accepted by Roy Strickland Associate Professor of Architecture Chairman, Departmental Committee on Graduate Students JJUN 71998 V ~ a4 ~e6 tAr M~ di, 0 n -e e trr A hesis by Erbem Fnrt ft Mark 4wa e 4storysf of Architeoture Ar 4aiflipe. sor of Architecture Thesis Reader Mickael Leja the History of Art Thesis Reader QUESTIONING HORATIO GREENOUGH'S THOUGHTS ON ARCHITECTURE by Erdem Erten Submitted to the Department of Architecture on May 8, 1998 in partial fulfilment of the requirements for the degree of Master of Science in Architecture Studies. ABSTRACT Horatio Greenough (1805-1852), the Bostonian sculptor, is an important intellectual of the antebellum United States. The sculptor is renowned for his two colossal pieces that were placed on the grounds of the U.S. Capitol, "Rescue" and "George Washington," together with his writings on architecture. Greenough's writings echo the discursive agenda of modern architecture to a surprising degree in terms of truth to material, refraining from ornament, the machine analogy, the building's adaptation to the site, the organic growth of form and the expression of the inside on the outside.
    [Show full text]
  • Statuary and Paintings in the Old Capitol
    CHAPTER VII STATUARY AND PAINTINGS IN THE OLD CAPITOL HE need of ornamentation for the Capitol Building was appre- the eagle on the frieze in the House of Representatives. This piece of ciated by its designers from the beginning of the work.1 work met with the hearty approval of Latrobe and others who were Thornton indicated sculptural work on his earliest drawings, familiar with its appearance. August, 1807, a model of the Statue of Lib- and advocated finishing or decorating the interior of the erty by Franzoni was placed between two columns in the colonnade, Tbuilding with foreign marbles. Such treatment was beyond the pecu- over the Speaker’s chair.3 niary capacity of the Government at that period, but as the wings Andrei’s first work was on the capitals in the House of Represent- neared completion under Latrobe we find that he sought the assistance atives. All of the above-mentioned sculptural work was destroyed when of sculptors to do the decorative carving and model the statuary which the British burned the Capitol. When work was again commenced and he thought appropriate to accentuate and ornament the building. the repairs of the building begun, Andrei was sent to Italy, in August, Artists of this character had found no inducement to establish them- 1815, to secure capitals for the Halls of Congress, and at the same time selves in the United States, therefore it was necessary to obtain them he was authorized to engage sculptors who were proficient in modeling from abroad. As the House of Representatives neared completion figures.
    [Show full text]
  • Boston Athenaeum American Neoclassic Sculpture Release
    Contact: Peter Walsh, 617-720-7639; [email protected] For Immediate Release ! “AMERICAN NEOCLASSIC SCULPTURE AT THE BOSTON ATHENÆUM” OPENS FEBRUARY 26; LEADING COLLECTION EXHIBITED TOGETHER FOR THE FIRST TIME ! (Boston, MA, January 22, 2015) American Neoclassic Sculpture at the Boston Athenæum, on view at the Boston Athenæum February 26 through May 16, 2015, will reveal a collection that is among the oldest and most significant of its kind in the United States, one that helped establish an “American taste” in the visual arts. ! The exhibition includes more than thirty works— sculptures by the three “founders” of American Neoclassicism: Horatio Greenough (Boston’s first professional sculptor), Thomas Crawford, and Hiram Powers; along with works by their followers; examples by such European Neoclassicists as Jean-Antoine Houdon and Bertel Thovaldsen; and marble copies of ancient works, including the Venus de Medici and the Apollo Belvedere. ! Featured works include Horatio Greenough’s Elizabeth Perkins Cabot (1832-33), Venus Victrix (1837-40), and The Judgment of Paris (1837-40); "1 Thomas Crawford’s Adam and Eve (1855); Bertel Thorvaldsen’s Ganymede and the Eagle (ca. 1830-50); and Jean-Antoine Houdon’s George Washington (ca. 1786). A series of sculpted portraits of Daniel Webster by John Frazee, Hiram Powers, Thomas Crawford (1813-1857), Thomas Ball, and Shobal Vail Clevenger Anacreon: Ode LXXII, 1842. Marble. explores the range of treatments, from Boston Athenæum, gift of several subscribers, 1843. Photograph by real to ideal, used in Neoclassic Jerry Thompson. portraiture. ! Organized by David Dearinger, the Boston Athenæum’s Susan Morse Hilles Curator of Paintings and Sculpture, American Neoclassic Sculpture is the first time these important works have been shown together.
    [Show full text]
  • Maryland Historical Magazine, 1956, Volume 51, Issue No. 1
    ARYLAND HISTORICAL MAGAZINE ^^ The Mansion at Guilford, near Baltimore, about 1892 MARYLAND HISTORICAL SOCIETY BALTIMORE March • 1936 Your Lawyer and Your Bank Your lawyer is a specialist in the preparation of wills, trust agreements and other legal documents. He is also thoroughly familiar with taxes and other problems related to estate planning and the administration of your estate. Your bank is a specialist in the management of money and property, including bonds, stocks and real estate. It is also familiar, through long experience, with the many problems arising in connection with the management of an estate or trust, including the special problems of a business. Together, this team of your lawyer and your bank can give you the utmost specialization and experience in a plan for the adminis- tration of your estate. THE FIRST NATIONAL BANK OF BALTIMORE Capital and Surplus $20,000,000 Member: Federal Deposit Insurance Corp. ceifflBO MARYLAND HISTORICAL MAGAZINE PUBLISHED BY THE MARYLAND HISTORICAL SOCIETY VOLUME LI BALTIMORE 1956 * CONTENTS OF VOLUME LI PAGE HORATIO GREENOUGH, BOSTON SCULPTOR, AND ROBERT GILMOR, JR., HIS BALTIMORE PATRON. Nathalia Wright, 1 A BALTIMORE ESTATE: GUILFORD AND ITS THREE OWNERS. /. Gilman WArcy Paul, 14 WAGES IN EARLY COLONIAL MARYLAND. Manfred Jonas, 27 PARK HEAD CHURCH AND THE REVEREND JEREMIAH MASON. Mary Vernon Mish, 39 CHARLES WALLACE AS UNDERTAKER OF THE STATE HOUSE. Morris L. Radoff, 50 SlDEUGHTS, 54, 154, 243, 355 REVIEWS OF RECENT BOOKS, 62, 161, 252, 357 NOTES AND QUERIES, 75, 171, 263, 366 COUNTERFEITING IN COLONIAL MARYLAND. Kenneth Scott, 81 A CHILDHOOD AT CLYNMALIRA. Harriet Winchester Jones, 101 NEWTOWN HUNDRED.
    [Show full text]
  • A Finding Aid to the Hiram Powers Papers, 1819-1953, Bulk 1835-1883, in the Archives of American Art
    A Finding Aid to the Hiram Powers Papers, 1819-1953, bulk 1835-1883, in the Archives of American Art Erin Corley Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee. December 29, 2008 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 3 Arrangement..................................................................................................................... 4 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Biographical Material, 1841-1927............................................................. 6 Series 2: Correspondence,
    [Show full text]
  • The State House, Boston Massachusetts
    . i i i iiii iiiii|[ iTl ii iiii n i iii iiii ii i i i iii iii i iiiiiiiiiii i iiii r | j i| | iiii i ii i i i iiiii i i iii ii ii,i i i iiiiiiiiiiiiii i iiii m I The State House Boston, Massachusetts !lllil!l!l!lili{!li! Illlllllllllillll!l!llllll!!|il i|||l!lillllillllll ll!llll^^^ ' ' ' ' '. I 1 . , nil II t 111 iiiiiK M J M til t:ij n iM 1 iTi'i 1 77 r. :t.— -.-rrT- - .. - — — """'""""""""'""""'"I""""""''' -'-^'""" nillHiHinii.i iM|M.||||,|,iiini;nMii.iin,.M| Illlllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllllllllllllllllllllllllillllllllllllly THE STATE HOUSE BOSTON, MASSACHUSETTS «y ELLEN MUDGE BURRILL 'Boston State House is the Hub of the Solar System Oliver Wendell Holmes ^ [Seventh Edition] PRINTED UNDER THE DIRECTION OF THE SERGE ANT - AT - A R MS BY ORDER OF THE GENERAL COURT boston: WRIGHT AND POTTER PRINTING COMPANY STATE I PRINTERS 32 DERNE STREET : I92I iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiy^^ I I piiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii^ THE STATE HOUSE I I J The Bulfinch State House g B "Far the most beautiful city in America, as far B 5 as I have seen, is Boston, and the State House is M g the most beautiful building in the country. At g = Washington, at Albany, at Chicago, and elsewhere, | M you see much grander and more costly structures; M M but this is in perfect taste and proportion: every M M interspace the right size, every moulding right, M M every decoration refined — a sort of Adams archi- M M tecture of noblest type. The situation is noble, M M and has been made the best of." H = From " Life and Correspondence of John Duke Lord Col- g M eridge.
    [Show full text]
  • Horatio Greenough
    SENTIMENTAL REFORMER IN ARCHITECTURE? –NOT. The issue in this thumbnail biography will be whether or not Henry Thoreau can be said to have, in WALDEN; OR. LIFE IN THE WOODS, implicitly derogated Horatio Greenough as a “sentimental reformer in architecture.” My conclusion will be that although PEOPLE OF Thoreau did indeed make implicit mention of an unnamed architect, this was not at all a reference to the sculptor WALDEN Greenough as presumed by Professor Harding (Greenough never constructed any building), but instead needs to be considered to have been a mention of some much more likely and more proper and more probable target — a target such as the very productive but very conventional New England architect Asher Benjamin (q.v.). HDT WHAT? INDEX HORATIO GREENOUGH WALDEN: True, there are architects so called in this country, and I have heard of one at least possessed with the idea of making architectural ornaments have a core of truth, a necessity, and hence a beauty, as if it were a revelation to him. All very well perhaps from his point of view, but only a little better than the common dilettantism. A sentimental reformer in architecture, he began at the cornice, not at the foundation. It was only how to put a core of truth within the ornaments, that every sugar plum in fact might have an almond or caraway seed in it –though I hold that almonds are most wholesome without the sugar,– and not how the inhabitant, the indweller, might build truly within and without, and let the ornaments take care of themselves.
    [Show full text]