Cover

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pp. -ii

Title Page

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pp. iii-iv

Contents

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pp. v-vi

List of Illustrations

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pp. vii-xii

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Preface

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pp. xiii-xvi

On a late-summer morning in 2012, I drove to Lawrence, Massachusetts. For many months, while finishing the manuscript of this book, I had wanted to spend a day in this gritty industrial city. Lawrence was not unfamiliar to me. But what piqued my interest and drew me north were some special programs and exhibitions taking place...

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Introduction: Grappling with Modernity

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pp. 1-9

In April of 1897, a group of Boston craftsmen, architects, and supporters presented a groundbreaking Arts and Crafts exhibition featuring more than 1,000 objects in a building near Copley Square. The inspiration for their endeavor came from England, where the Arts and Crafts Exhibition Society had organized its first show in London...

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1. Dramatis Personae: Twelve Architect-Leaders

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pp. 10-36

From England to New England, the theories and values of the Arts and Crafts movement crossed the Atlantic, resonating with the men and women who contributed to an emerging Arts and Crafts sensibility in Boston. In England the movement was inspired by the views of John Ruskin and William Morris...

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2. Arts and Crafts Advocates, Arts and Crafts Architects

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pp. 37-63

The ideas that generated the Arts and Crafts movement in England churned through the early nineteenth century, stirred by several compelling theorists. During the second half of the century, architects, craftsmen, and their supporters began organizing formally in guilds while the architects promoted the craftsmen...

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3. An Intellectual Stew: Emerson, Norton, Brandeis

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pp. 64-91

When the Society of Arts and Crafts was organized in 1897, some exceptional minds in and around Boston were contributing to the intellectual discourse of the period. During the first half of the nineteenth century, the region had produced many of the nation’s influential writers and lecturers, and they were followed...

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4. An Arts and Crafts Movement Emerges in New England

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pp. 92-114

Over the course of three decades, from the late 1860s through the 1890s, a variety of ideas took root in Boston that would produce an Arts and Crafts architecture throughout New England—an architecture that would be nourished by the region’s culture and traditions. The most distinctive aspect of this culture was an almost religious faith...

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5. Looking Backward: From Romanesque to Gothic Revival

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pp. 115-153

As the nineteenth century drew to a close, the new direction in architecture, based on the tenets of England’s Arts and Crafts movement, gathered steam in Boston. Buildings began appearing in New England’s cities and towns that demonstrated the architects’ commitment to craftsmanship in their projects’ ornament...

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6. Looking Backward: Colonial Revival as Arts and Crafts

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pp. 154-187

Even while the Boston architects were promoting the English Gothic Revival, they were looking back to the region’s colonial past as a starting point for their designs. They viewed the early buildings as expressions of New England’s heritage and respected them for their workmanship— the same Arts and Crafts values that lay behind...

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7. Looking Forward: Building for the Twentieth Century

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pp. 188-220

Perhaps paradoxically, the architects who were most prominent in Boston’s Society of Arts and Crafts could be described as both backward looking and forward looking. In their commitment to history and devotion to historic architectural styles, based mainly on English and regional colonial sources, they mirrored a wider culture...

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Epilogue: Confronting Modernism

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pp. 221-230

Reading through the handwritten notes and typed carbon copies documenting the meetings and activities of the Society of Arts and Crafts, one cannot help but be impressed by the endless hours that the architects devoted to promoting an Arts and Crafts movement. Stepping back, one faces the challenge of evaluating the legacy...

Notes

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pp. 231-278

Illustration Credits

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pp. 279-282

Index

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pp. 283-288

Color Illustrations

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