Carrying the Torch: Maud Howe Elliott and the American Renaissance

Notes

143 no tes Abbreviations MHE Maud Howe Elliott JE John Elliott JWH Julia Ward Howe SGH Samuel Gridley Howe LER Laura Elizabeth Richards SW Sam Ward Preface 1. Maud Howe Elliott, unpublished handwritten notes of lectures on art delivered in Chicago, c1889, John Hay Library, Maud Howe Elliott Papers, Box 2, F.5:7. 2. Maxim Karolik “Maud Howe Elliott Seen as Symbol: Maxim Karolik Tells of Her Interest in Art Association, Newport’s Cultural Life,” Newport Daily News, March 24, 1948, 9. 3. Maud Howe Elliott, Three Generations (Boston: Little, Brown, 1923), 4. 4. Art Association of Newport, Annual Report, 1921, Newport Art Museum Archives. 5. Elliott, unpublished handwritten notes of lectures on art delivered in Chicago, 1889, John Hay Library, Maud Howe Elliott Papers, Box 2, F.5:7. one 1. Florence Howe Hall, Memories Grave and Gay (New York: Harper & Brothers, 1918), 32. 144 Notes to Chapter One 2. JWH to Annie Ward Mailliard, February 7, 1854, Houghton Library, Howe Family Papers (554). 3. Ibid. 4. JWH to Louisa Ward Crawford, July 23, 1854, continued on November 4, 1854, Houghton Library, Howe Family Papers (385). 5. Maud Howe Elliott, Diaries, May 1, 1912, John Hay Library, Maud Howe Elliott Papers. 6. Hall, Memories Grave and Gay, 32. 7. American Magazine of Useful and Entertaining Knowledge 3: 4, 130. 8. Maud Howe Elliott, Three Generations (Boston: Little, Brown, 1923), 6. 9. Elliott, Three Generations, 10. 10. Laura E. Richards, Samuel Gridley Howe (New York and London: D. Appleton-Century, 1935), 186. 11. Elliott, Three Generations, 15. 12. Henry Wadsworth Longfellow, Journal, October 19, 1845, quoted in Gary Williams, Hungry Heart: The Literary Emergence of Julia Ward Howe (Amherst: University of Massachusetts Press, 1999), 78. 13. Richards, Samuel Gridley Howe, 188. 14. Ibid., 180. 15. Hall, Memories Grave and Gay, 13. 16. Elliott, Three Generations, 30. 17. Howe, Reminiscences, 238–39. 18. Ibid., 239. 19. Maud Howe Elliott, This Was My Newport (Cambridge, MA: Mythology Company, 1944), 59. 20. Richards, Samuel Gridley Howe, 181. 21. Nathan H. Dole to MHE, 1923, John Hay Library, Maud Howe Elliott Papers, Box 1, F.1:22. 22. Elliott, Three Generations, 21. 23. Laura E. Richards, Stepping Westward (New York: D. Appleton, 1931), 74. 24. Elliott, Three Generations, 33. 25. Maud Howe Elliott, Memories of the Civil War, 1861–1864 (Privately printed to benefit the Newport chapter of the Red Cross, 1943), [3]. 26. Hall, Memories Grave and Gay, 142. 27. Laura E. Richards and Maud Howe Elliott, Julia Ward Howe, 1819–1910 (Boston and New York: Houghton Mifflin, 1915), vol. 1, 205; and Elliott, This Was My Newport, 91. 28. Elliott, Three Generations, 41. 29. Ibid. 30. Ibid. 31. Richards and Elliott, Julia Ward Howe, 41–42. Notes to Chapter Two 145 32. Louis Legrand Noble, The Life and Works of Thomas Cole (Cambridge, MA: Harvard University Press, 1964), 203. 33. Howard S. Merritt, Thomas Cole (Rochester, NY: Memorial Art Gallery of University of Rochester, 1969), 36. 34. Elliott, Three Generations, 63. two Epigraph: Julia Ward Howe, Journals, November 9, 1867, Houghton Library, Howe Family Papers. 1. MHE to LER, January 3, 1867, The Yellow House Papers: the Laura E. Richards Collection, Gardiner Library Association and Maine Historical Society, Coll. 2085, Record Group 15A, F.1. 2. MHE to JWH, February 15, 1867, The Yellow House Papers, Coll. 2085, Record Group 15A, F.1. 3. Hall, Memories Grave and Gay, 98. 4. Julia Ward Howe, From the Oak to the Olive (Boston: Lee and Shepard, 1868), 296. 5. Howe, From the Oak to the Olive, 45. 6. Julia Ward Howe, Journals, May 22–23, 1867, Houghton Library, Howe Family Papers. 7. Ibid., April 26, 1867. 8. Ibid., September 18, 1867. 9. Elliott, Three Generations, 119. 10. Howe, From the Oak to the Olive, 296–97: “It would be most important for us to form at least one gallery of art in which American artists might study something better than themselves.The presence of twenty first-rate pictures in one of our great cities would save a great deal of going abroad and help to form a sincere and intelligent standard of aesthetic judgment. Such pictures should, of course, be constantly open to the public, as no private collection can well be. We should have a Titian, a Rubens, an Andrea, a Paul Veronese and so on. But these pictures should be of historical authenticity.The most responsible artists of this...