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                <text>Temple of flora, or, Garden of nature, being picturesque, botanical, coloured plates of select plants, illustrative of the same, with descriptions</text>
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                <text>New illustration of the sexual system of Carolus von Linnaeus</text>
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                <text>Thornton, Robert John, 1768?-1837</text>
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                <text>London : Published by Dr. Thornton.</text>
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                <text>1799-1807</text>
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                <text>Temple of Flora was first published as the concluding part (pt. 3) of Thornton's larger work: New illustration of the sexual system of Carolus von Linnaeus (1807)&#13;
&#13;
The Temple of flora was issued with a separate engraved titlepage contained on 2 leaves, bearing the date 1799; the text consisted of descriptions of the plants, poetry and miscellaneous material.&#13;
&#13;
Plates are primarily aquatints and mezzotints executed by a variety pf artists and engravers; signed by artists: Russel [Russell], Opie, Reinagle, Perther, S. Edwards, Thornton and Henderson; and engravers: Caldwall, Burke, Ward, Elmes, Warner, Earlom, Lewis and Hopwood, Sutherland, Medland, Dunkarton, Stadler and Landseers.&#13;
&#13;
"Originally published in parts between 1799 and 1807; published in book form with additional material and plates in 1807"--ESTC.&#13;
&#13;
The work was first advertised in 1797, and seems to have been issued in parts at twenty-five shillings each between 1799 and 1807; no two copies are exactly alike as Thornton made up copies using different combinations of plates.&#13;
&#13;
Most plates with date and publishing information printed at bottom, others have date added in pencil; many plates are in 2nd (or later state) according to Grigson in Thornton's Temple of flora (1972)&#13;
&#13;
Plates are arranged in the order in which they appear in the original contents sheet. Cf. Grigson, G. Thornton's Temple of flora, 1972.</text>
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                <text>Botany--Pictorial works.</text>
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                <text>Flowers in art.</text>
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                <text>Flowers--Pictorial works.</text>
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                <text>Botanical illustration.</text>
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                <text>[28] leaves of plates : all ill. ; 52 cm.</text>
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                <text>INCOMPLETE: Volume consists of [28] colored plates, not the [31] as issued by Thornton, and does not include the accompanying text, frontispiece, title page leaves or the contents page; Athenaeum copy missing 3 plates: "Flora dispensing her favours on the earth" (Plate I), "Tulips" (Plate X) and "Narrow-leaved Kalmia" (Plate XXVII); 4 have their alternate plates substituted: "A group of Auriculas (two)" substitutes for "A group of Auriculas (four)"; "The queen flower" for "The queen"; "The American aloe" for "The aloe"; and "American bog plants" for "Pitcher plant". Cf. Grigson, G. Thornton's Temple of flora, (1972)&#13;
&#13;
Plates are dated 1799-1807 with the exception of "Queen flower" which bears the printed date of 1812.</text>
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                <text>Disbound plates; housed in protective box.</text>
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                <text>Athenaeum copy: Gift of Peter J. Koblenzer.</text>
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            <description>An account of the resource</description>
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                <text>Glass transom window from the front entrance to the Athenaeum of Philadelphia: &#13;
&#13;
                    ATHENAEUM&#13;
                          219&#13;
&#13;
Lettering is formed by reverse glass gold leaf gilding.  The exact age of this window and the date of its removal are unknown; however, a 1923 photograph in the collections of the Athenaeum clearly shows the transom window in place over the front door. </text>
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                <text>2021.37.01</text>
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            <description>A name given to the resource</description>
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                <text>Board of Directors Minutes, Volume 2, 1821-1832</text>
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            <description>An unambiguous reference to the resource within a given context</description>
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                <text>Bust of Napoleon Bonaparte, with head facing forward, in the Imperial Roman portrait form. 1,200 versions of this official bust (Napoleon's favorite, based on Antoine-Denis Chaudet's 1799 modeling) were carved at Carrara, Italy. </text>
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                <text>22.0" H x 17.5" W x 12.0" D</text>
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            <name>Medium</name>
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                <text>marble</text>
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          <element elementId="90">
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                <text>Gift of Frances Sabena and Mary Elizabeth Fernley</text>
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                <text>Bonaparte Collection, The Athenaeum of Philadelphia</text>
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            <name>Identifier</name>
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            <name>Rights</name>
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                <text>http://www.philaathenaeum.org/rights.html</text>
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              <name>Title</name>
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              <description>An account of the resource</description>
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Additional sculptures relating to Napoleon Bonaparte and his family may be viewed online in the Athenaeum's Featured Collection, "Bonaparte Collection." </text>
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            <name>Title</name>
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                <text>Pauline Bonaparte Borghese</text>
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            <name>Creator</name>
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                <text>Antonio Canova</text>
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            <name>Date</name>
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                <text>Sculpture of Pauline Bonaparte Borghese reclining semi-nude on a cushioned day-bed, holding a piece of fruit. She is posing as "Venus Vincitrice." This piece is almost identical to the life-size original in the Villa Borghese in Rome, except this version has no bracelet and a non-extended pinky.</text>
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            <name>Extent</name>
            <description>The size or duration of the resource.</description>
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                <text>22.0" H x 14.0" D x 39.0" L</text>
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            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
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            <name>Provenance</name>
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                <text>Gift of Stewart Huston</text>
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            <name>Is Part Of</name>
            <description>A related resource in which the described resource is physically or logically included.</description>
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                <text>Bonaparte Collection, The Athenaeum of Philadelphia</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>1961.01.01</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="50350">
                <text>http://www.philaathenaeum.org/rights.html</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Bonaparte Collection</text>
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                  <text>The Bonaparte Collection contains items related to Napoleon, Joseph, Charlotte and other members of the Bonaparte Family.  It also includes Bonaparte souvenirs, and decorative items that may be described as  "French Philadelphia" or from the Napoleonic Era.</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Curtain fragment from Point Breeze</text>
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          <element elementId="40">
            <name>Date</name>
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Textured beige background with raised vertical stripes.  Small embroidered design of flowers.&#13;
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          <element elementId="64">
            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
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                <text>Embroidered silk</text>
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          <element elementId="90">
            <name>Provenance</name>
            <description>A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.</description>
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                <text>Gift of Bordentown Library</text>
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            <name>Is Part Of</name>
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                <text>Bonaparte Collection, The Athenaeum of Philadelphia</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>1979.17.02</text>
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            <name>Extent</name>
            <description>The size or duration of the resource.</description>
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                <text>4.0" x 10.125"</text>
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        <name>Joseph Bonaparte</name>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Bonaparte Collection</text>
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              <description>An account of the resource</description>
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                  <text>The Bonaparte Collection contains items related to Napoleon, Joseph, Charlotte and other members of the Bonaparte Family.  It also includes Bonaparte souvenirs, and decorative items that may be described as  "French Philadelphia" or from the Napoleonic Era.</text>
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      <name>Physical Object</name>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Curtain fragment from Point Breeze</text>
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                <text>Piece of curtain said to be from Point Breeze, Joseph Bonaparte's home near Bordentown, New Jersey.  On paper which was pinned to curtains:  "Piece of Madame Joseph Bonaparte's curtains."&#13;
Background is beige with raised vertical stripes of alternating solid and broken bars.  Embroidered with heavy silk threads (rose, pink, beige, yellow, black and green) in main design of clusters of assorted flowers.  This is bordered by an embroidered vertical pattern of alternating discs and petals in shades of gold, brown and pink.  &#13;
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          <element elementId="90">
            <name>Provenance</name>
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                <text>Gift of Bordentown Library</text>
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            <name>Is Part Of</name>
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                <text>Bonaparte Collection, The Athenaeum of Philadelphia</text>
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            <name>Identifier</name>
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                <text>1979.17.01</text>
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              <name>Title</name>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Josephine Imperatrice</text>
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                <text>Oval miniature framed portrait of Josephine Imperatrice (Empress Josephine, Josephine Bonaparte).  Painted on ivory. Brass backing is engraved Josephene Imperatrice. Wood frame, glass glazing.  A small etched triangular shape, near the top of the brass backing, may be a maker's mark.  </text>
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            <name>Medium</name>
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                <text>Paint/Ivory/Brass/Glass/Wood</text>
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            <name>Provenance</name>
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                <text>Gift of Sheila Brown</text>
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            <name>Is Part Of</name>
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                <text>Bonaparte Collection, The Athenaeum of Philadelphia</text>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="50321">
                <text>2020.24.01 </text>
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                <text>19th century</text>
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        <name>Napoleon Bonaparte (Napoleon I)</name>
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                  <text>The Bonaparte Collection contains items related to Napoleon, Joseph, Charlotte and other members of the Bonaparte Family.  It also includes Bonaparte souvenirs, and decorative items that may be described as  "French Philadelphia" or from the Napoleonic Era.</text>
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                <text>Framed portrait painting of Napoleon Bonaparte.</text>
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            <name>Extent</name>
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                <text>9.5" W x 10.5"H</text>
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                <text>Paint</text>
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                <text>Gift of Chantal Westby</text>
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                <text>Bonaparte Collection, The Athenaeum of Philadelphia</text>
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            <name>Identifier</name>
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                <text>2020.10.02</text>
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        <name>Napoleon Bonaparte (Napoleon I)</name>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Portraits and Paintings</text>
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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>Presented here are portraits and paintings found in various Athenaeum collections.  Most are oil paintings, though a few portraits have been included that were created in other mediums.  There are additional portraits and paintings in the Bonaparte Collection, also available on this site.</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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            <description>An account of the resource</description>
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                <text>Small oval portrait bust of unidentified young woman, facing three quarters to left. Wide spaced almond shaped eyes, black curled hair parted in center and drawn up, with ornamental comb containing two rows of red beads. Wears pink v-neck dress over white 3-layered ruffled collar.&#13;
Oval mat. Gilt and gesso frame: Inner frame is oval, outer frame is serpentine oblong with floral and foliate scroll decoration at corners. (Frame is identical to frames for 1977.05.01-03)</text>
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            <description>The size or duration of the resource.</description>
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                <text>7.25" W x 8.75" W</text>
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            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
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              <elementText elementTextId="50266">
                <text>Watercolor on paper.  Frame: gilt and gesso.</text>
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            <name>Provenance</name>
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                <text>Gift of Mr. Samuel J. Dornsife</text>
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            <name>Is Part Of</name>
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                <text>General Collection, Museum Collection, The Athenaeum of Philadelphia</text>
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            <name>Identifier</name>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="50270">
                <text>http://www.philaathenaeum.org/rights.html</text>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
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                <elementText elementTextId="37095">
                  <text>Presented here are portraits and paintings found in various Athenaeum collections.  Most are oil paintings, though a few portraits have been included that were created in other mediums.  There are additional portraits and paintings in the Bonaparte Collection, also available on this site.</text>
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      <name>Physical Object</name>
      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
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      <elementSet elementSetId="1">
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Chastelain, Eliza Fremineau </text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Leloir, Heloise (nee Colin) (b.1820 Paris-d.1873 Paris)</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1860 (circa?)</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Small oval portrait of Eliza Fremineau Chastelain (daughter of Monsieur Fremineau, 1977.05.01). Waist view, seated, facing three quarters to the right. Hair is parted with curls at sides. Wears untied blue bonnet, long sleeved black dress with white lace collar and cuffs, and bow at waist. Holds white gloves. Chair has scrolled arms, backswept scrolled crest and is upholstered in red. Vertical scrolled architectural detail in right background.&#13;
Oval mat. Gilt and gesso frame: Inner frame is oval, outer frame is serpentine oblong with floral and foliate scroll decoration at corners. (Frame is identical to frames for 1977.05.01-02, and 1977.05.04)</text>
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            <name>Extent</name>
            <description>The size or duration of the resource.</description>
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                <text>6" x 7"</text>
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            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
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                <text>Watercolor on paper. Frame: gilt and gesso.</text>
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          <element elementId="90">
            <name>Provenance</name>
            <description>A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.</description>
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                <text>Gift of Mr. Samuel J. Dornsife</text>
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            <name>Is Part Of</name>
            <description>A related resource in which the described resource is physically or logically included.</description>
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                <text>General Collection, Museum Collection, The Athenaeum of Philadelphia</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="50260">
                <text>1977.05.03 </text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="50261">
                <text>http://www.philaathenaeum.org/rights.html</text>
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  <item itemId="3496" public="1" featured="0">
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Portraits and Paintings</text>
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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
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                <elementText elementTextId="37095">
                  <text>Presented here are portraits and paintings found in various Athenaeum collections.  Most are oil paintings, though a few portraits have been included that were created in other mediums.  There are additional portraits and paintings in the Bonaparte Collection, also available on this site.</text>
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    <itemType itemTypeId="15">
      <name>Physical Object</name>
      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
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      <elementSet elementSetId="1">
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Waln Grove 1797</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1797</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Framed watercolor painting of Waln Grove, 1797.  Waln Grove was a country estate house built in 1742 by Philadelphia merchant Robert Waln.  It was located in Frankford, which is now a section of Philadelphia.  The painting shows the house sitting atop a gently sloping hill, with trees and a fence along the sides. </text>
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                <text>17.75" H x 22.5"W</text>
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            <name>Provenance</name>
            <description>A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.</description>
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                <text>Gift of Robert L. Montgomery</text>
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            <name>Is Part Of</name>
            <description>A related resource in which the described resource is physically or logically included.</description>
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                <text>General Collection, Museum Collection, The Athenaeum of Philadelphia&#13;
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="50250">
                <text>2019.23.01</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="50251">
                <text>http://www.philaathenaeum.org/rights.html&#13;
</text>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Sculpture Collection</text>
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              <description>An account of the resource</description>
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                  <text>The Athenaeum’s Sculpture Collection comprises a variety of European and American works in marble, bronze, plaster and ceramic, dating mostly from the 19th century.  A variety of historical literary, mythological, ancient classical, political, military, arts and science figures are represented. &#13;
&#13;
Additional sculptures relating to Napoleon Bonaparte and his family may be viewed online in the Athenaeum's Featured Collection, "Bonaparte Collection." </text>
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      <name>Physical Object</name>
      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Samuel Breck</text>
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                <text>Henry Dmochowski Saunders</text>
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            <name>Date</name>
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                <text>1855</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Bronze bas relief portrait of Samuel Breck, depicted in profile view within an oval ornately-carved oak rococo style frame. &#13;
 &#13;
Born in Boston and educated in France, Breck (1771-1862) served as president of the Athenaeum from 1845 to 1862. It was during his tenure that the cornerstone of the present Athenaeum building was laid in 1845. In 1855 the Board of Directors decided to honor Beck's service to the institution by commissioning a medallion of him by sculptor Henry Dmochowski Saunders.  A political exile from Lithuania (then part of Russian Poland), Saunders lived in Philadelphia from 1853 to 1857, having developed a good reputation for creating busts, medallions and statuettes of many notable figures. His busts of Kosciuszko and Pulaski are in Washington, at the Capitol.</text>
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                <text>42.5" H x 34.0" W</text>
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&#13;
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            <description>Information about rights held in and over the resource</description>
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            <description>A name given to the resource</description>
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                <text>Charles Garnier</text>
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                <text>Jean-Baptiste Carpeaux.  Foundry mark: E. Gruet Jeune Fondeur</text>
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                <text>Cast bronze portrait bust of Charles Garnier (1825-1898).  Sculptural details such as Garnier’s unkempt curly hair and his disheveled clothing are indicative of sculptor Jean-Baptiste Carpeaux’s skill at infusing his works with spontaneity and naturalism.  &#13;
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Architect Charles Garnier won the Paris Opera commission in 1861 over a field of nearly 200 contestants.  Garnier and Carpeaux were friends, and Carpeaux executed many sculptural works for Garnier's finest building, the Opera. A version of this portrait bust greets visitors as they climb the grand stair of the Opera, and there is a third casting at the Louvre in Paris. Carpeaux was the most successful French sculptor of the mid-19th Century; he was widely recognized as the official sculptor of the Second French Empire.</text>
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                <text>Gift of Samuel J. Dornsife</text>
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                <text>1999.M04.01</text>
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            <name>Rights</name>
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                <text>http://www.philaathenaeum.org/rights.html&#13;
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French sculptor Jean Antoine Houdon was well known for portrait busts of public figures of the late 18th century.  Houdon sculpted Benjamin Franklin’s likeness during Franklin’s tenure as American minister to France from 1776 to 1785.  While only two marble versions of the bust are known to exist (one at the Philadelphia Museum of Art, the other at the Metropolitan Museum of Art), Houdon also produced plaster versions such as this one in response to the public’s fascination with the popular American statesman. &#13;
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Jean Léopold Nicolas Frédéric Cuvier (1769 - 1832), known as Baron Georges Cuvier, was a French naturalist  widely admired for his research and publications on zoology and paleontology. Cuvier was a major figure in natural sciences research in the early 19th century and was instrumental in establishing the fields of comparative anatomy and paleontology through his work in comparing living animals with fossils.  He was perpetual secretary of the National Institute and as a public official was connected with public education generally.  In 1808 he was placed by Napoleon upon the Council of the Imperial University. &#13;
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Robert Swain Gifford (1840 – 1905) was an American painter and printmaker.  He spent much of his youth in the coastal areas of Massachusetts and Connecticut, where he developed an affinity for New England land- and seascapes. In 1866, he settled in New York City, where he taught art for nearly thirty years at the Cooper Union School, and helped establish the New York Etching Club.  He won medals at the 1876 Philadelphia Centennial Exhibition and numerous other venues.   His work is represented in a number of institutions, including the Pennsylvania Academy of Fine Arts and the Smithsonian American Art Museum. &#13;
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William Rudolf O'Donovan (1844 – 1920) was a successful self-taught sculptor.  Born in Virginia, he served in the Confederate Army.  After the Civil War, he opened a studio in New York City and began his career as a well-regarded professional sculptor, producing many public monuments as well as portrait busts and bas reliefs of prominent persons, including Walt Whitman, Thomas Eakins, and George Washington.  &#13;
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Additional sculptures relating to Napoleon Bonaparte and his family may be viewed online in the Athenaeum's Featured Collection, "Bonaparte Collection." </text>
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&#13;
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            <description>A name given to the resource</description>
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                <text>Hollow painted plaster cast of an unidentified bearded man, executed in the classical manner with the head at a slight turn to the right.  The man's wavy hair brushes the tops of his ears; he has a neatly trimmed full beard and no mustache.  Incised below the left shoulder:  Chs Bullett 1855. &#13;
&#13;
French-born sculptor and stoneworker Charles Bullett (1820-1873) studied at L'Ecole des Beaux-Arts in Paris before moving to New York City in 1848, and then to Cincinnati, Ohio in 1850. He earned widespread acclaim for his sculpture, and served as the principal of the sculpture department during the building of the capitol in Columbus. He eventually settled in Louisville, Kentucky, where he helped establish the Muldoon Monument Company, a marble cutting firm highly regarded for its work throughout Kentucky and the American South. Bullett supervised the production of monuments in the firm’s workshop in Carrara, Italy, until he died in 1873.  &#13;
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            <description>A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.</description>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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&#13;
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Born in Paris of Russian parents, Pierre Nicolas Tourgueneff (1854-1912) specialized in portrait and equestrian sculpture. He exhibited at the Paris Salon from 1880 to 1911, four times receiving honorable mentions and the Grand Prize at the Universal Exposition of 1889. Tourgueneff's realistic modeling of this uniformed soldier and horse reflects more than an artistic interest in his subject. He was a member of the Legion of Honor, achieving the rank of "Chevalier" in 1903, after twenty years of active service. The Legion of Honor, instituted by Napoleon in 1802, is France's highest honor for citizens of military or civil distinction.&#13;
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                <text>This late 19th-century bronze statuette represents a fusilier  (infantryman) in Napoleon's army. Armed with musket and bayonet, the well-equipped soldier wears a tall bearskin hat which is fitted at the front with an eagle badge, and decorated with plume, pom poms, and braided cord. The belt which crosses over the subject's shoulders holds his sword and a cartridge box, which also bears a Napoleonic eagle. Buttoned gaiters, worn to protect the soldier on the march, cover the fusilier's shoes and reach mid thigh. The long skirt of  the subject's coat is folded back and hooked up to allow better mobility. &#13;
&#13;
Born in Italy, Luca Madrassi (fl. 1869-1914) studied at L'Ecole des Beaux-Arts in Paris. In addition to his realistic military sculpture, Madrassi was a master of the fantastic, modeling such allegorical subjects as fairies, cupids, satyrs and genies.&#13;
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                <text>Gift of Frances Sabena and Mary Elizabeth Fernley</text>
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                <text>Brass figure of the Roman god Mercury carrying a caduceus (a staff entwined by two snakes) and wearing  winged sandals and a petasus (winged cap).  Mercury stands balanced on one foot upon a column of air emanating from the wind god Aeolus, atop a frieze of putti (cherubim or cupids) supported by a marble base.  A brass label is attached to base of figure: "Diskos Handicap 1898-1899." </text>
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            <name>Identifier</name>
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                <text>1975.05.01</text>
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            <name>Rights</name>
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                <text>http://www.philaathenaeum.org/rights.html&#13;
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                <text>Marble bust  of General George G. Meade (1815-1872), executed in the classical manner with the head at a slight turn to the right. General Meade was a native Philadelphian and served as commander in chief of the Army of the Potomac during the Civil War.  &#13;
&#13;
Sculptor Joseph A Bailly (1825-1883) was born in Paris and came to the United States in 1848 and to Philadelphia in 1850.  In 1876 he became the professor of sculpture at the Pennsylvania Academy of the Fine Arts. &#13;
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                <text>Gift of Edward Swain III</text>
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Daniel Webster (1782- 1852), American Statesman, was born in Salisbury, New Hampshire. Aspiring to but never attaining the Presidency of the United States, Webster's political career included terms as a Congressman, Senator, and Secretary of State. His eloquence as a speaker and writer, however, earned him the widest renown.  &#13;
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This statuette is a replica of a figure modelled by Thomas Ball (1819-1911), son of a Charlestown, Massachusetts, house and sign painter. Art dealer C.W. Nichols obtained the copyright to reproduce this popular statuette, making it one of the earliest examples of mass-produced American sculpture. &#13;
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                  <text>This collection of letters contains the correspondence of Sarah Josepha Buell Hale. It contains letters relating to both her professional and personal life and spans a 43 year period. It also contains a small number of letters between her close relatives.</text>
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&#13;
My dear Madam&#13;
&#13;
I received your letter&#13;
to-day &amp; would be happy to aid you in&#13;
this or any other literary matter, as&#13;
far as I am able. I do not know how&#13;
extended an account you wish of Miss&#13;
Sewell I will [?] give you what&#13;
maybe a sufficient outline for your&#13;
purpose.&#13;
I was well acquainted &#13;
with Miss S. when in England in 1845,&#13;
&amp; have since had the pleasure of a constant&#13;
correspondance [correspondence] with her. Her&#13;
name is Elizabeth M. Sewell ( I do &#13;
not know what the middle letter stands&#13;
for.) Her family is one of great respectability,&#13;
residing at "Sea View Cottage," BonChurch,&#13;
near Ventnor, in the southern part &#13;
&#13;
of the Isle of Wight. Her father has been dead &#13;
some years: her mother died about a year since.&#13;
She has two brothers, one a barrister in London,&#13;
the other, the Rev Wm Sewell AM. Fellow of Exeter&#13;
Coll. &amp; Prof. of Moral Philoy in Univ. of Oxford.&#13;
The first publication about 7 years ago, was&#13;
"Stories on the Lord's Prayer". Wh. came out anonymously.&#13;
Then "Amy Herbert," wh. attracted &#13;
great notice &amp; has been through several editions&#13;
in England &amp; this country. II. "Gertrude".&#13;
III. "Margaret Percival [Perceval]" 2 cols. IV. "Laneton&#13;
Parsonage" 3 vols. V. "The Earl's daughter."&#13;
Besides these she wrote "Walter Lorimer," the&#13;
1st story in "The Sketches" - (the other two stories&#13;
being furnished by Prof. Sewell &amp; Rev. [?] Adams,&#13;
author of "The Shadow of the Cross"). The last&#13;
publication is "Is it a Dream?" - a small&#13;
vol. published anonymously and not reprinted&#13;
in this country.&#13;
The great object of her works is to &#13;
advocate Church principles. Thus, "Amy Herbert"&#13;
us devoted to the subject of baptism &amp; Laneton&#13;
Parsonage to that of Confirmation. Few writers&#13;
&#13;
writers have had so extensive a circulation in this &#13;
country.&#13;
I do not know of any portrait or engraving&#13;
of Miss S. nor did I ever see one in &#13;
England or at their own house.&#13;
I regret that the application was&#13;
not made to me some months ago, when&#13;
I could have procured from England all the&#13;
information you desired. Perhaps however&#13;
this outline will enable you to write as&#13;
extended a notice as you wish. If I can&#13;
be of any further use to you in this matter&#13;
command my services.&#13;
There is one way in wh. sometimes&#13;
I may aid you in your literary labour. I have&#13;
control of the literary department of the &#13;
"Albany State Register" a political paper&#13;
established here last spring by the Hon.&#13;
DD Barnard (now appointed minister to [Rumania?])&#13;
Hon John C, Spenser - Hon JA Collier &amp;&#13;
I took it at that request of these gentlemen&#13;
&#13;
who wished, (a new feature in a political&#13;
paper) to have a distinct literary department.&#13;
As it is the organ of Pres. Fillmore&#13;
in this state, it has a wide circulation&#13;
among the highest class of men &#13;
&amp; a notice of a book may be useful there&#13;
I will send you a couple of Nos. that &#13;
you may see it. I have occasionally&#13;
noticed your periodical when sent me&#13;
by booksellers here.&#13;
Perhaps sometimes I may aid &#13;
you in its notices. If so, let me know&#13;
&amp; it will afford me pleasure to do so.&#13;
Yours respectfuly [respectfully]&#13;
W. Ingraham Kip&#13;
&#13;
Mrs Hale -&#13;
&#13;
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                  <text>Sarah Josepha Buell Hale (1788-1879) was a major literary figure of the 19th century. Born in New Hampshire, she was educated at home and by her mother and brother, Horatio. She married a young lawyer, David Hale, who died in 1822. As a result she had to find a way to support herself and her five children. She utilized her literary skills and published a collection of poems with mild success followed by her first novel entitled &lt;em&gt;Northwood&lt;/em&gt; in 1827. &lt;em&gt;Northwood&lt;/em&gt; advocated the repatriation of slaves to Africa by means of Liberia and called for New England style morality throughout the nation. In 1828 she began editing &lt;em&gt;The Ladies’ Magazine of Boston&lt;/em&gt;, the first magazine for women to be edited by a woman. It had its financial difficulties and was united with &lt;em&gt;Godey’s Lady’s Book&lt;/em&gt; (the majorly influential women’s magazine of the 19th century) in 1837. Godey’s was based in Philadelphia and she eventually she moved to Philadelphia from Boston to become more involved in her editorship of the magazine. These magazines acted as her platform to promote her moral agendas. She was a major proponent of equal education for women; however she was not a suffragist. She pushed for men and women to remain within their god-given spheres and believed women needed education to be better moral upholders of the home. Aside from being the editor of &lt;em&gt;Godey’s Lady’s Book&lt;/em&gt;, she wrote many books and poems while lobbying for educational and social reform. Hale is also the author of &lt;em&gt;Mary had a Little Lamb&lt;/em&gt; and the main person responsible for making Thanksgiving a national holiday (it was previously only celebrated in her native New England). Hale died in 1879 and was survived by four children (her oldest son died in 1839).</text>
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              <text>Galveston, June 14th 1847.&#13;
&#13;
My dear Mother&#13;
&#13;
I received yesterday your letter of May last&#13;
and write at once to caution you about some matters you mention&#13;
in it.&#13;
I have doubted whether Mr. Johnson intends to reside here&#13;
permanently and I still doubt it - but Judge Watrous has told me &#13;
that his, Mr. J's views have altered much since his visit to New&#13;
Orleans, where the amount of business in prospect has been so&#13;
great as to encourage him to remain in Texas, until he has&#13;
made his fortune. I expect the result of it will be that he&#13;
will spend the winters here in doing business and the summers &#13;
at the North in procuring it&#13;
My partnership with him is well known here - and&#13;
his not speaking about [at?] the North was nothing singular. He&#13;
had contracted for the building of our office before he left - which&#13;
is not done - and I shall, as I had always expected, remain&#13;
with Judge Watrous, who is to have a very pretty and convenient&#13;
suite of rooms for offices, library [etc.]&#13;
You need not be concerned about me in my&#13;
connection with Mr. Johnson. Whether it exists and remains or &#13;
not, I am not especially anxious - for all the business he&#13;
obtains for Texas will unquestionably be mine also - and if&#13;
&#13;
he does not come out, I can stand very [DE: very] well by&#13;
myself. I have received offers from several of the &#13;
leading members of the bar here to enter into partnership&#13;
with them - and if that with Mr. J is dissolved, I&#13;
may accept some one of them - although if it should be&#13;
possible I prefer to stand by myself.&#13;
The caution I wish to give to you &amp; José&#13;
is to say nothing about Mr. Johnson &amp; your opinions&#13;
to Judge W. or any one. I have said nothing myself &#13;
and for this reason - that it may &amp; probably is all&#13;
a mistake - and I should be especially sorry to suggest&#13;
anything in the conduct or character of Mr. J.&#13;
which should not prove strictly true - and also necessary&#13;
- and it is certainly not necessary.&#13;
I wish too you would dismiss your&#13;
fears about me - and remember that I am a Yankee,&#13;
with some education &amp; common sense, some experience,&#13;
some capabilities of managing - and that if I am not&#13;
now able to take care of myself, I never shall be&#13;
Everything is going on well here - the&#13;
climate is far - infinitely less oppressive than in &#13;
Richmond &amp; Phila. - the town healthy and pleasant&#13;
- and I am in less danger of sickness here than in &#13;
the North - If the yellow fever should come, which is&#13;
very doubtful - I shall go down the island - at a distance&#13;
from the city, [or?] on the shore of Galveston Bay. &#13;
I have a promise of very good business&#13;
- am rather respected here [etc.?] - and feel at present the &#13;
very dignified Office of District Attorney of the United&#13;
&#13;
States for this District - by an arrangement with the [present?]&#13;
incumbent, who is dangerously sick. The emoluments will&#13;
help me a little.&#13;
The autographs which [?] mentions are in my&#13;
collection - now at Richmond - I am quite sure he sent&#13;
them to me, in exchange - but I will write to him.&#13;
I am exceedingly glad that your finances are&#13;
so good - Do not think of me - I have only been anxious to&#13;
gain enough to send you or Jose some thing - which I hope to&#13;
do next winter.&#13;
So the Spaniards &amp; the [Russians?] have gone - The&#13;
Judge is delighted - and how is the household of the Mar[?]&#13;
House flourishing? I shall write to Mrs. Howell soon&#13;
about her land matters -&#13;
You may expect Charley in about a fortnight&#13;
after this letter reaches you - He will not, I think, be&#13;
long in Phila - but long enough to tell you every-thing&#13;
you want to know.&#13;
I am boarding at Mrs. Cooke's. It is a very&#13;
pleasant place - and she a pleasant woman. The [cautions?]&#13;
about her which Josepha was pleased to give - were rather&#13;
[?] - and based upon stories, which very naturally [?]&#13;
but which, I think, leave nothing which ought to affect her&#13;
character - She has been unfortunate only - perhaps imprudent&#13;
but from goodness of heart and some little [desire?] of [admiration?]&#13;
- nothing else - &#13;
Love &amp; remembrance to everyone - I have&#13;
written to Fanny. [?] yours&#13;
William G. Hale.&#13;
&#13;
Mrs. Sarah J. Hale&#13;
{Care of L.A. Godey Esqr.&#13;
Philadelphia -&#13;
Penn.&#13;
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                  <text>Sarah Josepha Buell Hale (1788-1879) was a major literary figure of the 19th century. Born in New Hampshire, she was educated at home and by her mother and brother, Horatio. She married a young lawyer, David Hale, who died in 1822. As a result she had to find a way to support herself and her five children. She utilized her literary skills and published a collection of poems with mild success followed by her first novel entitled &lt;em&gt;Northwood&lt;/em&gt; in 1827. &lt;em&gt;Northwood&lt;/em&gt; advocated the repatriation of slaves to Africa by means of Liberia and called for New England style morality throughout the nation. In 1828 she began editing &lt;em&gt;The Ladies’ Magazine of Boston&lt;/em&gt;, the first magazine for women to be edited by a woman. It had its financial difficulties and was united with &lt;em&gt;Godey’s Lady’s Book&lt;/em&gt; (the majorly influential women’s magazine of the 19th century) in 1837. Godey’s was based in Philadelphia and she eventually she moved to Philadelphia from Boston to become more involved in her editorship of the magazine. These magazines acted as her platform to promote her moral agendas. She was a major proponent of equal education for women; however she was not a suffragist. She pushed for men and women to remain within their god-given spheres and believed women needed education to be better moral upholders of the home. Aside from being the editor of &lt;em&gt;Godey’s Lady’s Book&lt;/em&gt;, she wrote many books and poems while lobbying for educational and social reform. Hale is also the author of &lt;em&gt;Mary had a Little Lamb&lt;/em&gt; and the main person responsible for making Thanksgiving a national holiday (it was previously only celebrated in her native New England). Hale died in 1879 and was survived by four children (her oldest son died in 1839).</text>
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              <text>Dear Madam&#13;
&#13;
New York. Dec 5. 1850.&#13;
&#13;
I can hardly hope, that you will excuse in me, what I&#13;
cannot excuse myself; in the long delay of my answer to your polite&#13;
letter. I must confess that I have had, from the very beginning&#13;
of my literary career a decided aversion against all personal&#13;
publicity. I succeeded for considerable time in keeping my person&#13;
in the shade, declining all the requests in that respect of [F.?] Rassmann,&#13;
Schindel and other editors of literary Biographies and works of&#13;
that kind. At last, as one gets accustomed to every thing, I have&#13;
suffered - not caused - to be [?] under my real name in the&#13;
well known: Conversations Lexicon [Lexikon] der Gegenwart , [DE:?] Leipzig,&#13;
Brockhaus 1840 (Continuation of F. Liebers Encyclopedia Americana)&#13;
The details of my life as given there, are essentially correct; only the&#13;
name given there as Adolfine, ought to be changed in: Albertine - if it is&#13;
worthwhile to change such a trifling thing. May I refer you to this&#13;
work, dear Madam? I have no doubt that it is to be got in Philadelphia&#13;
and that, if you do not read German yourself, you can&#13;
easily get it translated for you. However as this article was written more&#13;
than ten years ago, I add the following details refering [referring] to the &#13;
ten intervening years.&#13;
&#13;
They were in literary respect principally devoted to the study&#13;
of American history. The result was a history of John Smith in [DE: the] F. Raumer's&#13;
Historisches Taschenbuch, Brockhaus 1845 and a larger historical&#13;
work on the Colonization of New England. (Geschichte der Colonisations &#13;
von Neu England Leipz, Brockhaus 1847) The outbreak&#13;
of the revolutions in Germany immediately afterwards,&#13;
which destroyed of course for some time all literary interests&#13;
operated against it and it may be said without vanity, that this&#13;
book, which I consider as the best I have ever written, received [DE: from] by&#13;
accidental circumstances less attention than it deserved; [DE: the] and it would&#13;
have received at a more favourable time. The&#13;
Germans, who know everything, [DE: h]are perfectly ignorant about&#13;
the history of this country before the Revolution. I had a strong&#13;
desire to make them acquainted with it and feel very much [DE: ?]&#13;
disappointed. - My next publications were in the English language.&#13;
The article on Slavic languages and literature refered [referred] to in the Convers. Lex. where it out to have been&#13;
mentioned that it was originally written for and appeared in the Biblical&#13;
Repository, a theological periodical, started by my husband,&#13;
was revised [DE: ,] and partly rewritten by me and the history of the&#13;
Slavic literature conducted to the present time; it was published&#13;
under the title: Historical View of the Languages and Literature of the Slavic&#13;
nations New York. Putnam. 1850. Immediately afterwards a small&#13;
novel appeared: Heloise or the unrevealed secret N.Y. Appleton which&#13;
it at the same time published in Germany under the title: Eigen&#13;
sinn des Herzens. Another tale is printing now and will appear at Appletons:&#13;
"Life's Discipline, a tale of the Annals of Hungary.&#13;
With perfect esteem&#13;
I remain my dear Madam&#13;
Therese Robinson.&#13;
&#13;
Life's Discipline -&#13;
Heloise or the &#13;
Unrevealed Secret&#13;
&#13;
Love -&#13;
The Loves of Goethe&#13;
&#13;
Graham's &#13;
Magazine&#13;
&#13;
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              <text>Washington - City. 20th Janry. 1829.&#13;
&#13;
Dear Madam,&#13;
&#13;
I felt much flattered today by the contents of yours&#13;
of the 14th instant. It will give me great satisfaction &#13;
to show that your confidence in my kind&#13;
feelings towards you &amp; your family has not&#13;
been misplaced -&#13;
I had spoken to Mr. Thompson&#13;
concerning your Magazine some days ago; and he has engaged&#13;
to do all in his power for its [consequent?] [invitation?] -&#13;
The rules to be observed for application to be admitted as a &#13;
cadet at West Point are in substance as follows&#13;
&#13;
A memorial should be addressed to the Secretary of War, signed by&#13;
the candidate or his parent, stating his wishes, where he was born,&#13;
his present residence - his age and a reference to the papers&#13;
accompanying to show his good character and progress in&#13;
knowledge By certificates - He must appear to be between 14 &amp; 21 years of age - [DE: ?] over 4 feet 9 inches high - healthy - able to read &amp; write, cypher&#13;
in the elementary rules of arithmetic &amp; reduction &amp; regular &amp; decimal&#13;
fractions -&#13;
The selections from the candidates are made conditionally&#13;
in the month of Feby. or March -&#13;
If you will [ED: page damaged - possibly send onward?]&#13;
to me such a memorial &amp; proper certificates accompanying it&#13;
I think I cannot fail to get your son appointed - Certain&#13;
I am, that no exertion on my part shall be wanting&#13;
to effect an object so desirable not only to his esteemed&#13;
mother but to the young man himself, considering the [taste?]&#13;
he has already carried -&#13;
I find the name of David E. Hale&#13;
now on the list of candidates from Cheshire County (New H.)&#13;
&#13;
Whether it is intended for your son or not I am unable to say:&#13;
but at all events the application ought to be renewed each&#13;
year by the rules - : and a compliance with the above&#13;
suggestions will I trust ensure his [speedy?] success.&#13;
We have no news at this place - Public business seems&#13;
almost suspended by the peculiar condition of [parties?] till&#13;
the 4th of March - and the gay &amp; fashionable world is in the&#13;
mean time somewhat [?]reast by the sudden death&#13;
[ED: page damaged, possibly: of Mrs. Jackson] -&#13;
It would confer great pleasure on me&#13;
[ED: page damaged] you whenever my services can avail aught&#13;
to the welfare of yourself or family; and be assured I am&#13;
With the highest consideration&#13;
Your Most Ob Ser.&#13;
Levi Woodbury&#13;
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              <text>Washington City&#13;
[16?] [Jany] 1854&#13;
&#13;
My Dear Madam.&#13;
I have the honor&#13;
to acknowledge the&#13;
receipt of your note of&#13;
the 10th [inst]&#13;
It will give me &#13;
great pleasure to aid&#13;
in carrying into effect&#13;
the object of the memorial&#13;
you were kind enough&#13;
to [enclose?] [?]&#13;
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Your obst&#13;
[?] Thomson&#13;
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              <text>March 1st 1867&#13;
&#13;
New York&#13;
&#13;
My dear Mrs. Hale&#13;
&#13;
Many thanks for&#13;
your kind letters and the copies of &#13;
foreign [?] enclosed, which I should&#13;
have acknowledged earlier, had I not been &#13;
so pressed with Society business. The&#13;
letters from abroad will furnish a very&#13;
valuable addition for our April "Link."&#13;
I have written unofficially to Mr.&#13;
Halwell asking various questions I am&#13;
desirous of learning about before presenting&#13;
his application to our, Board, at&#13;
its March Monthly Meeting. I think&#13;
favorably of [both?] that &amp; Mrs. [?] [Meter's?]&#13;
&#13;
application received through Mrs.&#13;
Boardman.&#13;
I think the Society is &#13;
gaining new friends and I want to&#13;
expand in proportion in heathen lands.&#13;
My Mother's health is extremely&#13;
delicate this winter, but I trust our&#13;
Heavenly Father will long preserve her&#13;
valuable life.&#13;
With kind regards from her,&#13;
believe me respectfully yours&#13;
S.D. Doremus&#13;
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                <text>Sarah Josepha Hale Collection, The Athenaeum of Philadelphia</text>
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                  <text>Sarah Josepha Buell Hale (1788-1879) was a major literary figure of the 19th century. Born in New Hampshire, she was educated at home and by her mother and brother, Horatio. She married a young lawyer, David Hale, who died in 1822. As a result she had to find a way to support herself and her five children. She utilized her literary skills and published a collection of poems with mild success followed by her first novel entitled &lt;em&gt;Northwood&lt;/em&gt; in 1827. &lt;em&gt;Northwood&lt;/em&gt; advocated the repatriation of slaves to Africa by means of Liberia and called for New England style morality throughout the nation. In 1828 she began editing &lt;em&gt;The Ladies’ Magazine of Boston&lt;/em&gt;, the first magazine for women to be edited by a woman. It had its financial difficulties and was united with &lt;em&gt;Godey’s Lady’s Book&lt;/em&gt; (the majorly influential women’s magazine of the 19th century) in 1837. Godey’s was based in Philadelphia and she eventually she moved to Philadelphia from Boston to become more involved in her editorship of the magazine. These magazines acted as her platform to promote her moral agendas. She was a major proponent of equal education for women; however she was not a suffragist. She pushed for men and women to remain within their god-given spheres and believed women needed education to be better moral upholders of the home. Aside from being the editor of &lt;em&gt;Godey’s Lady’s Book&lt;/em&gt;, she wrote many books and poems while lobbying for educational and social reform. Hale is also the author of &lt;em&gt;Mary had a Little Lamb&lt;/em&gt; and the main person responsible for making Thanksgiving a national holiday (it was previously only celebrated in her native New England). Hale died in 1879 and was survived by four children (her oldest son died in 1839).</text>
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                  <text>This collection of letters contains the correspondence of Sarah Josepha Buell Hale. It contains letters relating to both her professional and personal life and spans a 43 year period. It also contains a small number of letters between her close relatives.</text>
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                <text>Sarah Josepha Hale to Emma Willard</text>
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                <text>Willard, Emma, 1787-1870</text>
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