 | Domenico Tojetti, "Progress of America," 1875; at left, Indians and buffalo flee; maidens represent agriculture, medicine, arts and mechanics; oil on canvas Do Not Duplicate. Copyright The Oakland Museum, 1000 Oak St, Oakland, CA 94607. Kahn Collection. All rights reserved. |
 | "A View of Lowell," Kirk Boott's cotton mills at Lowell, MA, trying for genteel respectability: ladies and gentlemen stand on a small green with trees, 1852 Gleason's Pictorial Drawing-Room Companion, 2, 1852, p. 336. Library of Congress Prints and Photographs Division, Washington, DC 20540 |
 | Unidentified artist, "Palisades Along the Hudson," probably New England or New York state, probably 1851-60, oil on canvas; 27 x 36 in. overall Courtesy of The Abby Aldrich Rockefeller Folk Art Museum, The Colonial Williamsburg Foundation, P.O. Box 1776, Williamsburg, VA 23187-1776. 1960.102.1. All rights reserved. Our thanks to The Museum. |
 | "A Typical Boomer Family," OK, 1889 William Prettyman photo. Gilcrease Museum (formerly The Thomas Gilcrease Institute of American History and Art), 1400 N. Gilcrease Museum Rd, Tulsa, OK 74127-2100 |
 | "The Chairman of the Hanging Committee." Caricature of an Irishman, an ape figure, standing behind a desk, proclaiming, with Roman Catholic Catechism and Catholic World on the floor by the side of the desk; there is a small figure hanging from a lamppost on his desk. The idea is that the Ku Klux Klan is supported by Irish immigrants. c. 1871. Thomas Nast cartoon, "Miss Columbia's Public School," pamphlet, c. 1871. Warshaw Collection of Business Americana, Smithsonian Institution, PO Box 37012, SI Building, Room 153, MRC 010, Washington, DC 20013-7012. 8.6.3, 8.11.4 |
 | "Who's Boss?" Depicts the Irishman as an ape, with the word "mob" on his hat. He is sitting on a barrel of rum and all are bowing down before him. c. 1871 Thomas Nast cartoon. "Miss Columbia's Public School," pamphlet, c. 1871, p. 70. Warshaw Collection of Business Americana, Smithsonian Institution, PO Box 37012, SI Building, Room 153, MRC 010, Washington, DC 20013-7012. 8.6.3 |
| "The Chairman of the Hanging Committee." Caricature of an Irishman, an ape figure, standing behind a desk, proclaiming, with Roman Catholic Catechism and Catholic World on the floor by the side of the desk; there is a small figure hanging from a lamppost on his desk. The idea is that the Ku Klux Klan is supported by Irish immigrants. c. 1871. Thomas Nast cartoon, "Miss Columbia's Public School," pamphlet, c. 1871. Warshaw Collection of Business Americana, Smithsonian Institution, PO Box 37012, SI Building, Room 153, MRC 010, Washington, DC 20013-7012. 8.6.3, 8.11.4 |
 | "Miss Columbia's Public School," cartoon, c. 1871. The Hibernian Meeting, showing an ape-like Irish figure with a fist raised, orating from the podium to members. Irish caricature. Before him, a document reading, "Our liberty taken away…killing Orangemen." Under Hibernian "Club," a shillelagh. Thomas Nast cartoon, pamphlet, c. 1871, p. 65. Warshaw Collection of Business Americana, Smithsonian Institution, PO Box 37012, SI Building, Room 153, MRC 010, Washington, DC 20013-7012. 8.6.3 |
 | Emigrants setting sail from Liverpool, 1840s. Encyclopedia Britannica, Inc., Britannica Centre, 310 South Michigan Ave., Chicago, IL 60604. In Wayne Moquin, ed., Makers of America, Vol. 2, William Benton, Publisher, 1971, p. 88. 8.6.3 |
 | A transfer barge that carried immigrants from Castle Garden to the Erie Railway. Early German immigrants had been important in settling the East; now many were making homes in the new states of the west. Corbis Corp., 710 Second Ave., Suite 200, Seattle, WA 98104. In Wayne Moquin, ed., Makers of America, Vol. 3, William Benton, Publisher, 1971, p. 105. 8.6.3 |
 | "Half Past Eight O'Clock...The Cook enraged at the Steerage Passengers being late with their Breakfast on Board the Ship Acasta, Dec. 1824; A Hasty Sketch taken by J. Bear on his Voyage to America." Rapid growth of New York in 1820s; population increased 30% between 1820 and 1825; more than 16,000 new houses built in 1824 alone. Courtesy of The Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to the Museum. In John A. Kouwenhoven, Columbia Historical Portrait of New York, 1953. 8.6.3 |
 | A peasant family being dispossessed for nonpayment of rent, London, 1824. David Wilkie painting. Copyright holder unknown. Library of Congress Prints and Photographs Division, Washington, D.C. 20540. NE2195.W65 A3. In Oscar Handlin, Immigration, 1972, p. 23. 8.6.3 |
 | Religious persecution in the 16th century, drawing. Location unknown. In Oscar Handlin, Immigration, 1972, p. 24. 8.6.3 |
 | "Puritans destroying the cross in London's Cheapside, a symbol of episcopacy," drawing. New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. In Oscar Handlin, Immigration, 1972, p. 24. 8.6.3 |
 | "The Eviction," a sentimental version of an eviction of the Irish, c. 1871. Characters are heroic rather than despondent. From painting by Powell. Library of Congress Prints and Photographs Division, Washington, D.C. 20540. LC-USZ62-19550. In Oscar Handlin, Immigration, 1972, p. 91. 8.6.3 |
 | "Outward bound, a caricature of an Irish immigrant on the quay of Dublin, 1854," T. Nichol painting. See also IM-F-9. The New-York Historical Society, 170 Central Park West, New York, NY 10024. In Oscar Handlin, Immigration, 1972, p. 98. 8.6.3 |
 | "'Here and There; Or, Emigration a Remedy.' An 1848 cartoon showing the contrast between poverty and destitution in Europe and prosperity in America." New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. In Oscar Handlin, Immigration, 1972, p. 98. 8.6.3 |
 | Persecuted Lutherans of Salzburg, Austria, departing for Georgia, 1732, broadside. New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. In Louis B. Wright, The American Heritage History of the Thirteen Colonies, New York, 1967, pp. 108-9. 8.6.3 |
 | Hogarth, "Gin-Lane," 1751, engraving. Convicts and "riff-raff" in London. The British Museum, Great Russell Street, London WC1B 3DG UNITED KINGDOM. In Louis B. Wright, The American Heritage History of the Thirteen Colonies, New York, 1967, p. 112. 8.6.3 |
 | Pieter Breughel, "The Triumph of Death," c. 1562, detail. Violence and decay of European life compelled many to leave their countries for America. See also IM-A-20, 22. Museo del Prado, Paseo del Prado s/n, 28014 Madrid, SPAIN. In Bernard A. Weisberger, The American Heritage History of the American People, New York, 1971, p. 26. 8.6.3 |
 | Pieter Breughel, "The Triumph of Death," c. 1562, detail. Violence and decay of European life compelled many to leave their countries for America. See also slides IM-A-21, 22. Museo del Prado, Paseo del Prado s/n, 28014 Madrid, SPAIN. In Bernard A. Weisberger, The American Heritage History of the American People, New York, 1971, p. 27. 8.6.3 |
 | Pieter Breughel, "The Triumph of Death," c. 1562, detail. The violence and decay of European life compelled many to leave their countries for America. See also slides IM-A-21, 22. Museo del Prado, Paseo del Prado s/n, 28014 Madrid, SPAIN. In Bernard A. Weisberger, The American Heritage History of the American People, 1971, p. 27. 8.6.3 |
 | "A winter street scene in London, showing the misery of the poor." Harper's Weekly, 1859. In Oscar Handlin, Immigration, 1972, p. 98. 8.6.3 |
 | Cramped hut of an extended family of Irish peasants, 1880s. Copyright holder unknown. Library of Congress Prints and Photographs Division, Washington, D.C. 20540. In Oscar Handlin, Immigration, 1972, p. 90. 8.6.3 |
 | A 16th century etching of a village fête. Copyright holder unknown. Library of Congress Prints and Photographs Division, Washington, D.C. 20540. In Oscar Handlin, Immigration, 1972, p. 89. 8.6.3 |
 | Launching of the "Great Republic," the largest merchant ship in the world, 1853. New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. Our thanks to the NYPL. In Oscar Handlin, Immigration, 1972, p. 76. 8.6.3 |
 | Cartoon contrasting the black slave in the U.S. and the oppressed peasant in Ireland, 1846. Harry T. Peters Collection. Smithsonian Institution, PO Box 37012, SI Building, Room 153, MRC 010, Washington, DC 20013-7012. In Oscar Handlin, Immigration, 1972, p. 168. 8.6.3 |
 | The contrast of British surplus population with the need for manpower in the U.S., woodcut, 1855. Courtesy of The Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to the Museum. In Oscar Handlin, Immigration, 1972, p. 160. 8.6.3 |
 | An Irish peasant family, about 1880. Copyright holder unknown. Library of Congress Prints and Photographs Division, Washington, D.C. 20540. In Oscar Handlin, Immigration, 1972, p. 111. 8.6.3 |
 | "A court for King Cholera - overcrowding and filth in the Irish slums [in Ireland] encourage disease." New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. In Oscar Handlin, Immigration, 1972, p. 112. 8.6.3 |
 | Men hanging from trees, depicting religious persecution in the 16th century. Location unknown. In Oscar Handlin, Immigration, 1972, p. 49. 8.6.3 |
 | "Protestant conception of the tortures facing the Huguenots in the 17th century." New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. In Oscar Handlin, Immigration, 1972, p. 46. Our thanks to the NYPL. 8.6.3 |
 | "A cottage in County Cork, a Catholic area of Ireland that remained unchanged through the centuries." Copyright holder unknown. Photoworld photo. All rights reserved. In Oscar Handlin, Immigration, 1972, p. 45. 8.6.3 |
 | Traditional European agriculture. Painting. Smithsonian Institution, PO Box 37012, SI Building, Room 153, MRC 010, Washington, DC 20013-7012. In Oscar Handlin, Immigration, 1972, p. 14. 8.6.3 |
 | An immigrant family at the beginning of immigration, c. 1620, painting. Location unknown. Oscar Handlin, Immigration, 1972, p. 1. 8.6.3 |
 | Castle Garden, leased by Commissioners of Emigration in 1855, and changed from an amusement hall to a depot where the bewildered foreigner could find interpreters, guides, authorized ticket-agents and an information bureau; before Ellis Island, 1906. European Americans persistently referred to "emigrants," not "immigrants," during first half-century. We thought in terms of their departure from Europe, rather than their arrival on our shores. Harper's Weekly, 1857-60. In John A. Kouwenhoven, Adventures of America, 1938, Plate #3. 8.6.3 |
 | Bird's-eye view of New York harbor, 1871, during time when Bartholdi first visited the U.S. Currier and Ives. New-York Historical Society, 170 Central Park West, New York, NY 10024. In James Bell and Richard Abrams, In Search of Liberty, 1984, pp. 14-15. 8.6.3 |
 | Castle Garden and Battery (before building of the Statue of Liberty), with Upper and Lower Bays of New York. Probably before 1855, before building of immigration depot. Currier and Ives. Courtesy of The Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to the Museum. In Walton Rawls, A Great Book of Currier and Ives' America, 1979, p. 145. 8.6.3 |
 | The English arriving in Virginia, drawing. New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. In Oscar Handlin, A Pictorial History of Immigration, 1972, p. 27. 8.6.3 |
 | Charles Ulrich, "In the Land of Promise - Castle Garden," 1884. In New York's Castle Garden's waiting room, immigrants got their first impression of America. Courtesy of The Corcoran Museum of Art, 500 17th St., NW, Washington DC 20006. All rights reserved. Our thanks to the Corcoran. In Mary Cable and Eds. of American Heritage, American Manners and Morals, 1969, p. 306. 8.6.3 |
 | Pictorial journalism: "Attack on the Quarantine Establishment" in Harper's Weekly, 1858. "For years the existence of a quarantine hospital on Staten Island has been a grave injury to the city and to the island, breeding pestilence on the latter...and occasioning every year yellow fever panics which inflicted severe injury on the trade of the port. A commission, appointed by the governor, had done nothing about removing the source of trouble, and the Staten Islanders took matters into their own hands. On Sept. 1, at nine o'clock in the evening, a large party, 'disguised and armed,' attacked the hospital from two sides, removed the patients, and set the buildings on fire." Harper's Weekly, Sept. 11, 1858. In John A. Kouwenhoven, Columbia Historical Portrait of New York, 1953, p. 270. 8.6.3 |
 | Immigrants landing in New York City, 1851. Brown Brothers, 100 Bortree Road, P.O. Box 50, Sterling, PA, 18463-0050. Oscar Handlin, A Pictorial History of Immigration, 1972, p. 114. 8.6.3 |
 | The interior of Castle Garden. The view is of the great hall in which immigrants were processed. See also IM-B-13. Harper's Monthly, April 1871. In Oscar Handlin, A Pictorial History of Immigration, 1972, p. 105. 8.6.3 |
 | Castle Garden at Battery Park, New York, 19th century. Copyright holder unknown. New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. In Oscar Handlin, A Pictorial History of Immigration, 1972, p. 105. 8.6.3 |
 | A group of newly arrived emigrants from different countries is being buttonholed by several "runners" or swindlers in this 1868 cartoon of Castle Garden landing in New York City. On the right a thief is seen rifling through a woman's handbag. The labor exchange shown in the background was another scene of various swindles that involved employment. Culver Pictures, 150 West 22nd St., Ste. 300, New York, NY 10011. In Wayne Moquin, ed., Makers of America, Vol. 3, William Benton, Publisher, 1971, p. 16. 8.6.3 |
 | This 1887 cartoon, called "America's Hearty Welcome to the Innocent Emigrant," shows the gauntlet of fraud that immigrants had to run upon arrival in New York City. This line of swindle and theft often extended from before the immigrant arrived until either he was impoverished or reached his final destination. Captions in cartoon: Bogus Expressmen, Heavy Charges, Bogus Employment Agency, $10 Week Salaries, Fraudulent R.R. Tickets, Baggage Seizer, Pretended Relation, Boarding-House Runner, Confidence Operator, Female Swindler, Custom House Extortions. Culver Pictures, 150 West 22nd St., Ste. 300, New York, NY 10011. In Wayne Moquin, ed., Makers of America, Vol. 3, William Benton, Publisher, 1971, p. 14. 8.6.3 |
 | During the Civil War both the North and South recruited heavily among the newly arrived immigrants. In this scene Irish and German immigrants are urged to join the Union Army as soon as they arrive in New York City. Signs advertising a $600 bounty for enlistment are posted in both English and German. Courtesy of The Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to the Museum. In Wayne Moquin, ed., Makers of America, Vol. 3, William Benton, Publisher, 1971, p. 53. 8.6.3 |
 | "Chinese immigrants in a San Francisco customs house," 1877. Harper's Weekly, Feb. 3, 1877. In Oscar Handlin, A Pictorial History of Immigration, 1972, p. 155. 8.6.3 |
 | "A traditional Chinese school in America," 1871. R.H. Conwell, Why and How, Boston, 1871. In Oscar Handlin, A Pictorial History of Immigration, 1972, p. 156. 8.6.3 |
 | Pieter Breughel, The Harvesters, detail, 1565. European peasants as frontier settlers. Oil. See also IM-C-65. Copyright Metropolitan Museum of Art, 1000 Fifth Ave., New York, NY 10028-0198. All rights reserved. In Louis B. Wright, The American Heritage History of the Thirteen Colonies, New York, 1967, p. 113. 8.6.3 |
 | Pieter Breughel, The Harvesters, detail, 1565. European peasants as frontier settlers. Use with IM-C-64. Copyright Metropolitan Museum of Art, 1000 Fifth Ave., New York, NY 10028-0198. All rights reserved. In Louis B. Wright, The American Heritage History of the Thirteen Colonies, New York, 1967, p. 113. 8.6.3 |
 | "Sunday evening in a New York German beer garden," 1859. Harper's Weekly, 1859. In Oscar Handlin, A Pictorial History of Immigration, 1972, p. 135. 8.6.3 |
 | Members of the German Gymnastic Society in Cincinnati, 1850, lithograph. Cincinnati Historical Society, Cincinnati Museum Center, 1301 Western Ave, Cincinnati, OH 45203-1130. In Bernard A. Weisberger, The American Heritage History of the American People, 1971, p. 132. 8.6.3 |
 | May Day [Moving Day] in New York. New York's annual spring melee, as depicted by an anonymous artist, 1840, brought a temporary halt to all courtesies and commerce. Detail of SO-A. See also SO-A-23. Copyright holder unknown. Collection of Mr. and Mrs. Screven Lorillard. In Mary Cable and Eds. of American Heritage, American Manners and Morals, 1969, pp. 190-1. 8.6.3 |
 | May Day in New York. Moving day. It had been "moving day" since the days of the Dutch. The custom originally sprang from a city ordinance requiring anyone who was going to move to do it by May 1st, in order that the city directory could be made up on schedule. During the 1850s it became so fashionable to move that some fine ladies were ashamed to have it known that they were remaining another year in the old house. Harper's Weekly, 1857-60. In John A. Kouwenhoven, Adventures of America, 1857-1900, 1938, Plate No. 14. 8.6.3 |
 | May Day in New York. New York's annual spring melee, as depicted by an anonymous artist ca. 1840, brought a temporary halt to all courtesies and commerce. Detail of SO-A.
Copyright holder unknown. Collection of Mr. and Mrs. Screven Lorillard. In Mary Cable and Eds. of American Heritage, American Manners and Morals, 1969, pp. 190-1. 8.6.3 |
 | "May Day [Moving Day] in New York." New York's annual spring melee, as depicted by an anonymous artist, 1840, brought a temporary halt to all courtesies and commerce. Detail. See also SO-A-23. Copyright holder unknown. Collection of Mr. and Mrs. Screven Lorillard. In Mary Cable and Eds. of American Heritage, American Manners and Morals, 1969, pp. 190-1. 8.6.3 |
 | May Day [Moving Day] in New York. New York's annual spring melee, as depicted by an anonymous artist, 1840, brought a temporary halt to all courtesies and commerce. See also SO-A-23. Copyright holder unknown. Collection of Mr. and Mrs. Screven Lorillard. In Mary Cable and Eds. of American Heritage, American Manners and Morals, 1969, pp. 190-1. 8.6.3 |
 | "St. George's Cricket Ground and the Red House Tavern at Harlem," pencil drawing, 1843. Harlem was an objective for "pleasing excursions" in the upper portion of Manhattan Island. Courtesy of The Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 209. 8.6.3, 8.12.5 |
 | Boston, Mass., with the Public Garden and Common in the foreground, 1850. The New-York Historical Society, 170 Central Park West, New York, NY 10024. In John W. Reps, "The Making of Urban America," Princeton, NJ: Princeton University Press, 1965, p. 145. 8.6.3 |
 | Haughwout's Store, New York City, built in 1857 or 1858. The building is shown here in an old wood engraving (and in a modern photograph in UR-D-30.) Except in minor respects, the building is unchanged; even the clock over the Broadway entrance is still there, yet how different the building looks. Curiously enough, it looks taller in the modern photograph even though its five stories must have seemed very high in the 1850s. See also UR-D-30. Courtesy of the Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. All rights reserved. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 276. 8.6.3 |
 | Haughwout's Store, New York City, built in 1857 or 1858. The building is shown in an old wood engraving in UR-D-29 and here in a modern photograph. Except in minor respects, the building is unchanged; even the clock over the Broadway entrance is still there, yet how different the building looks. Curiously enough, it looks taller in the modern photograph even though its five stories must have seemed very high in the 1850s. See also UR-D-29. Courtesy of the Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. All rights reserved. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 276. 8.6.3 |
 | New York by Gas Light, "Hooking a Victim," c. 1850, lithograph. Which "resturant" is represented we do not know, but perhaps it was the one on the corner of Broadway and Canal Street, described in "Glimpses of New York City" (Charleston, 1852), which had "a sort of secret establishment overhead that I have never rightly understood. You always, day and night, see a set of hacks standing there; they understand." Courtesy of the Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 231. 8.6.3 |
 | Chatham Square, New York. A Currier lithograph, about 1847. The Chatham Square district was New York's melting pot. A commentator writing in 1852: "Here you see Jew and Gentile, Priest and Levite, as well as all other classes, the old and young of all the nations upon the earth, and all the conditions and hues of the genus homo sapiens." Courtesy of the Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 226. 8.6.3 |
 | Park Row Stores, New York City, engraving by Doty & Bergen. This engraving provided a "pictorial directory" of the stores on Park Row about 1854, and shows an emphasis on the city's commercial progress. Courtesy of the Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 137. 8.6.3 |
 | "Park Theatre - Park Row," with Tammany Hall in the distance. This work was part of the first picture book about New York, published in 1831. Buildings beyond the theatre were, in order, the Theatre Hotel, Sweeney's Porter House, City Coffee House, Bachelor's Hall and Irish's Porter House. Courtesy of the Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 278. 8.6.3 |
 | "View of Broadway, New York," 1855. Detail. In formerly fashionable residential districts, dwellings were being crowded out by shops and warehouses or converted into stores. The sandwich man in the foreground advertises Sherman's Radical Cure Trusses. Courtesy of the Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. All rights reserved. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 278. 8.6.3 |
 | George Inness, "The Lackawanna Valley," 1855. Inness was commissioned by the Lackawanna Railroad Company to paint the scene of its operations. At first, apparently, the assignment repelled him. Hitherto a painter of pleasant landscapes, he was put off by the notion of painting anything as devoid of visual charm as a roundhouse or a smoking locomotive. But the result is a striking representation of the idea that machine technology is a proper part of the landscape. In the middle landscape scene the train is a unifying device. Hills gently envelop the industrial buildings and artifacts. No sharp lines set off the man-made from the natural terrain, nor is the train unpleasant. The cottony puffs that rise from the engine and the roundhouse are merely duplicates of a puff that rises behind the church - an ingenious touch. Instead of cutting the space into sharp rectilinear segments as railroad tracks often do, the right-of-way curves gracefully across the center of the canvas. Animals in the pasture continue to graze or rest peacefully as the tidy, diminutive train approaches. Solitary figures establish a quiet, relaxed mood, like good shepherds looking out across Arcadia. How are the people portrayed related to the landscape? Copyright The National Gallery of Art, 2000B South Club Drive, Landover, MD 20785. All rights reserved. In Leo Marx, "The Machine in the Garden," 1964, pp. 219-21. 8.6.3 |
 | Francis Guy, "Tontine Coffee House," c. 1798. "Important change in ways of looking at the city. For the first time the bustle of human activity in the streets was as interesting as the buildings themselves." The Tontine is the large building at left, on the northwest corner of Wall and Water Streets. Built in 1792, it housed the Stock Exchange and the principal insurance offices, and here the important merchants and traders met every day to transact business. Catty-corner across Wall Street was another coffee house (at the right), known as the "Merchants." A Walter Aikman engraving from a New York Historical Society painting. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZ62-98020. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 107. 8.6.3 |
 | William J. Bennett, "New York from Brooklyn Heights," color aquatint, 1836. Stokes Collection. Courtesy of The New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. Our thanks to the NYPL. 8.6.3 |
 | View of the city and harbor of New York, 1794. Grand Street, then a country lane, runs across the foreground just in front of the house. The boy and child are walking down Clinton Street toward Division Street, along which the coach is traveling northeast. The large yellow house at right stood at the junction of Clinton, Hester, and Division Streets. This is a view of New York from the porch of a suburban estate. Copyright holder unknown. Collection of Irving S. Olds. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 96-7. 8.6.3 |
 | J.W. Will, "Manhattanville, New York," 1834. The village on the Hudson, at 125th Street. In the 1830s, the village was still relatively untouched by city concerns. "Those who wanted to escape the crowded and busy city could still find quiet homes up at Manhattanville or over in Brooklyn." Courtesy of The Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 167. 8.6.3 |
 | View of "New York from the Heights near Brooklyn," 1823. This engraving was advertised as made from the point that afforded the most favorable view of the city and conveyed "the most correct impression of the beauties of the Bay and surrounding scenery." Engraved views of the city retained many 18th century mannerisms. From a watercolor by William G. Wall. Courtesy of The Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 123. 8.6.3 |
 | Park Row Stores, New York City, c. 1854. A "pictorial directory" of the street, emphasizing the city's commercial progress. Doty & Bergen engraving. Courtesy of The Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to the Museum. 8.6.3 |
 | Arthur J. Stansbury, City Hall Park and Chambers Street from Broadway, c. 1825. Courtesy of The Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to the Museum. 8.6.3 |
 | The first annual report of the New York Hospital, a hospital for sick poor people, 1798. It records urban problems. Note the number of Irish, the number died, number eloped, etc. The bottom should read: "who were natives of the following places: America 240, England 57, Scotland 25, Ireland 165, France 9, Germany 20, Spain 8, Sweden 7, Holland 11, Africa 8," etc. Courtesy of The Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 101. 8.6.3 |
 | View of a southern city, Washington, DC. "Slowly filling up, Washington City of 1834 gave hint of the transformation that would occur in this one-time vista of ‘magnificent distances’ and not much else." Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZC4-480. In Harnett T. Kane, "The Romantic South," 1961, p. 131. 8.6.3 |
 | "A prospect of the city [New York]," by William Birch and Samuel Seymour, 1802. "Only those who kept their distance could preserve the 18th century view of the city as a charming feature of the landscape." No image in the foreground could express more precisely than this Arcadian picnic the nostalgic persistence of 18th century attitudes toward the urban centers whose turbulence and vitality had already doomed those attitudes to extinction. Courtesy of The Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 106. 8.6.3 |
 | "They Were a Peaceful Folk....Group marriages among the Moravians involved several couples joining at the same time. Bride and groom might know each other only by sight; partners were chosen by lot after prayerful consideration of compatible qualities.'" Copyright holder unknown. In Harnett T. Kane, "Gone are the Days," 1960, p. 125. Author's collection. 8.6.3, 11.3.1 |
 | View of the Proposed Community at New Harmony, Indiana, c. 1825. New Harmony was Robert Owen's idea of a self-sufficient utopian community. The ideal community to Owen was to be composed of 1200 people living in a community like this one, which was to be 1000 feet long on each side. The central building would contain a public kitchen and mess rooms. Next to it would be buildings containing schools, lecture rooms, a place of worship, and a library. The rest of the interior of the square would be used for exercise and recreation. Three sides of this square were to be family lodgings; the fourth side was to be a dormitory for all children "exceeding two in a family" or more than three years old. Outside the square would be manufacturing buildings, stables, farm buildings and agricultural lands. Owens' visionary ideas never materialized. See also UT-A-1. Library of Congress, Prints and Photographs Division, Washington, DC 20540. LC-USZ62-1045. In John W. Reps, "The Making of Urban America," Princeton University Press, Princeton, N.J., 1965, p. 457. 8.6.3, 11.3.1 |
 | Bethlehem, Pennsylvania, 1784. English engraving. The groups of buildings to the right include the Old Chapel. The large house just to the left of that group, at the street corner, is the Brethren's House. Unitas Fratru, formed by a group of Bohemian and Moravian followers of John Huss [Jan Hus], was the first of the Reformed Churches. Zinzindorf visited the settlement in 1741 and gave it the name of Bethlehem. Brethren sisters and brothers formed groups in choirs; there were choirs of unmarried men, unmarried women, married people, girls and boys. In Magazine of Art, Vol. 32, 1939, p. 223 ff. 8.6.3, 11.3.1 |
 | Bethlehem, Pennsylvania, 1829. The building with the belfry is the Moravian Church. Lithograph by C.G. Childs after a picture by G. Lehmann. Location unknown. 8.6.3 |
 | New Harmony as imagined by Robert Owen and drawn by an English architect. Gabled houses and futuristic buildings were to be built on a square enclosing botanical gardens. Detail of UT-A-1. Library of Congress, Prints and Photographs Division, Washington, DC 20540. LC-USZ62-1045. In Richard Ketchum, ed., "The American Heritage Book of The Pioneer Spirit," 1959, p. 252. 8.6.3 |
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CSUS Department of History