Enfilade

Blake’s ‘Ancient of Days’ on St. Paul’s Dome

Posted in anniversaries, exhibitions, on site by Editor on December 1, 2019

A reproduction of William Blake’s The Ancient of Days from 1827 projected by Tate Britain onto St Paul’s Cathedral in London, 2019
(Photo by Alex Wojcik for Tate)

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There’s one more night to see Blake’s Ancient of Days projected onto the London skyline; the Tate Britain exhibition is on view until February 2; from the Tate press release (28 November 2019). . .

William Blake’s final masterpiece will illuminate the iconic dome of St Paul’s Cathedral to celebrate the artist’s birthday. The dramatic illustration The Ancient of Days (1827) was described by Blake as “the best I have ever finished” and will be visible across London this weekend. Tate Britain is currently staging the UK’s largest survey of works by Blake for a generation and has collaborated with St Paul’s Cathedral—home to the most visited Blake memorial in the UK—to recreate his vision on a monumental scale

Now renowned as a poet, Blake also had grand ambitions as a visual artist, proposing vast frescos that were never realised. Living and working in London for most of his life, the artist imagined adorning the walls of churches and public buildings in the city. The cityscape of London, dominated by St Paul’s Cathedral, inspired Blake’s powerful artworks and writing. His well-known poem Holy Thursday 1789 refers to “the high dome of Pauls.” Created as a frontispiece for the 1794 prophetic book Europe a Prophecy, The Ancient of Days is on loan to the exhibition at Tate Britain from the collection of the Whitworth, The University of Manchester and has become one of Blake’s best-known images. Through projections, Tate Britain will re-envision the small yet imposing illustration on an awe-inspiring scale, more than two centuries later.

Shaped by his personal struggles in a period of political terror and oppression, Blake’s radical beliefs meant he received little recognition in his own lifetime. November 28, 2019 would have been his 262nd birthday. In the almost two centuries since his death, Blake has become one of Britain’s most beloved artists and an inspiration to generations of musicians, writers, artists, and performers worldwide. Buried in relative obscurity in a common grave, the memorial to William Blake now installed in the crypt of St Paul’s Cathedral is visited by thousands each year.

Martin Myrone, Senior Curator, pre-1800 British Art, said: “Blake was an artist of gigantic imagination and vision, who has fired the creative ambition of generations. Seeing Blake’s work on a huge scale on this iconic building restores a sense of his towering presence in British culture.”

Paula Gooder, Chancellor of St Paul’s Cathedral, said: “St Paul’s Cathedral is delighted to continue our partnership with Tate by hosting this projection of The Ancient of Days onto the dome of the Cathedral. This collaboration is made even more special because of the memorial in our Crypt to William Blake. We hope that the projection of this iconic image will be an inspiration to all who see it.”

The projections will run from 28 November until 1 December 2019, from 16.30 until 21.00 each evening. The project has been realised by Tate in collaboration with St Paul’s Cathedral, projection partners EMF Technology Ltd, and with the kind support of the Whitworth Art Gallery, The City of London, City of London School, and animation director Sam Gainsborough. The exhibition William Blake at Tate Britain is curated by Martin Myrone, Senior Curator, pre-1800 British Art, and Amy Concannon, Curator, British Art 1790–1850.

Exhibition | Silent Night Turns 200

Posted in anniversaries, exhibitions by Editor on December 24, 2018

From the Salzburg Museum, in celebration of the song’s 200th anniversary (with nine exhibition sites in all) . . .

Silent Night 200: The Story, the Message, the Present
Stille Nacht 200: Geschichte, Botschaft, Gegenwart
Salzburg Museum, 29 September 2018 — 3 February 2019

Curated by Peter Husty and Birgit Gampmayer

Two hundred years ago, Joseph Mohr and Franz Xaver Gruber met in Oberndorf. Mohr was born in Salzburg in 1792 and ordained a priest here. In 1815, he was appointed as a curate in Mariapfarr. Here, in 1816, he wrote the poem “Silent Night.” 1816 was a hard year for Salzburg. Salzburg had lost its independence. The year without summer brought crises and famine. The words of the carol were created under this impression; they express a longing for redemption and peace. In 1817, Mohr was moved to Oberndorf on the river Salzach. Gruber was born in 1787 in Hochburg in the Innviertel, Upper Austria; he was a teacher in Arnsdorf close by and played the organ in the Oberndorf church. For a short time, the careers of the two men crossed in Oberndorf. Here, Gruber composed the music to the poem on 24 December 1818 for Christmas Eve in the church of St Nicholas. Mohr and Gruber performed the carol themselves. Today it is sung throughout the world at Christmas. It has been translated into countless languages.

Curators: Mag. Peter Husty und Mag. Birgit Gampmayer, BA

Idea: Hon.-Prof.Mag. Dr. Martin Hochleitner

Research concept: Univ.-Prof. Dr. Thomas Hochradner ( Universität Mozarteum Salzburg)

Reading and Conference | Walpole’s ‘The Mysterious Mother’

Posted in anniversaries, conferences (to attend), museums by Editor on April 16, 2018

Presented by the Lewis Walpole Library and the YCBA:

Horace Walpole’s The Mysterious Mother: A Staged Reading
Yale Center for British Art, New Haven, 2 May 2018

As part of the year-long celebrations of the tercentenary of Horace Walpole’s birth, the Lewis Walpole Library and the Yale Center for British Art are collaborating to present a staged reading of The Mysterious Mother—abridged by David Worrall (Emeritus Professor of English at Nottingham Trent University) and directed by Misty G. Anderson (ReLindsay Young Professor of English, University of Tennessee). Completed just a few years after Walpole’s celebrated gothic novel The Castle of Otranto (1764), this under-appreciated tale of incest and intrigue was initially circulated only among the author’s friends. Walpole never permitted it to be performed during his lifetime except as a private theatrical. Following the reading there will be a talk-back session moderated by Catherine Sheehy (Professor of the Practice of Dramaturgy and Dramatic Criticism, Yale University). This event is free and open to the public. Wednesday, 2 May 2018, 5:30pm, Yale Center for British Art.

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Horace Walpole’s The Mysterious Mother: A Mini-Conference
Yale Center for British Art, New Haven, 3 May 2018

Organized by Jill Campbell and Cynthia Roman

Diana Beauclerk (1724–1808), The Mysterious Mother, Act 3d, Scene 3, 1776 (The Lewis Walpole Library, Yale University).

10:00  Reading The Mysterious Mother
Chair: Jill Campbell, Professor of English, Yale University
• Nicole Garret, Lecturer, Department of English, SUNY Stony Brook
• Cheryl Nixon, Associate Provost, Associate Professor, Department of English, University of Massachusetts, Boston
•Matthew Reeve, Associate Professor Art History, Queen’s University
• Dale Townshend, Professor of Gothic Literature, Manchester Metropolitan University
• Nicole Wright, Assistant Professor, University of Colorado, Boulder

12:00  Lunch

1:15  Breakout session with Cynthia Roman, Curator of Prints, Drawings, and Paintings, The Lewis Walpole Library, to view Diana Beauclerk’s drawings of The Mysterious Mother. Attendance is limited, and advance registration is required.

2:00  Staging The Mysterious Mother
Chair: Misty Anderson, Lindsay Young Professor of English, University of Tennessee
• Al Coppola, Associate Professor of English, John Jay College, CUNY
• Marcie Frank, Professor of English, Concordia University
• Judith Hawley, Professor of English, Royal Holloway, University of London
• Jean Marsden, Professor of English, University of Connecticut
• David Worrall, Professor Emeritus, Nottingham Trent University

 

Celebrating Repton 200

Posted in anniversaries, lectures (to attend) by Editor on December 30, 2017

From The Gardens Trust:

Aylsham in Norfolk will host the official launch of Repton 200—a year of nationwide celebrations coordinated by the Gardens Trust marking the bicentenary of the death of Humphry Repton, who succeeded Capability Brown as Britain’s greatest landscape gardener.

Norfolk is where Repton first worked as a landscape gardener, at Catton Park, and where he was buried, at St Michael and All Angels Church in Aylsham, in March 1818. To mark the bicentenary of his death, a programme of events celebrating his life and work have been planned in Norfolk and around the country.

Humphry Repton, whose works include Tatton Park and Woburn Abbey, was the successor to Capability Brown and the first to coin the term ‘landscape gardening’. Born in Bury St Edmunds in April 1752, he attended Norwich Grammar School and trained to work in the textile business but was not successful in the industry. After trying his hand at a number of careers—including dramatist, artist, journalist, and secretary—Repton set himself up as a landscape gardener and gained work through his social contacts. He went on to work on estates across the country, producing his famous Red Books which showed his clients ‘before’ and ‘after’ views of how he would improve their land.

The Gardens Trust are co-ordinating the national celebrations, which start in March 2018, and include the Repton Season organized by Aylsham and District Team Ministry, Aylsham Town Council, community groups and Broadland District Council.

Events in Norfolk include a history workshop with Dr. Tom Williamson, professor of landscape history and archaeology at the University of East Anglia, a Repton 200 Memorial Choral Evensong, a Humphry Repton Memorial Lecture with Professor Stephen Daniels of the University of Nottingham, and a Red Book competition involving pupils from local schools.

Cllr Karen Vincent, Member Champion for Heritage at Broadland District Council, said: “We are lucky as a district to have links to such an important and fascinating figure. Repton’s work remains on show throughout the country, with his first work being here in Broadland at Catton Park. We would encourage anyone interested in one of the country’s most important landscape gardeners to come and help us celebrate his achievements in the spring.”

Dr James Bartos, Chairman of the Gardens Trust, said: “Humphry Repton designed around 400 landscapes across the country, many of which remain much-loved historic gardens. His picturesque designs featured terraces, gravel walks and flower beds around the house, as well as themed flower gardens. Next year will see a host of events celebrating his enduring influence, and drawing attention to gardens which need help to survive.”

For more information about Repton events in 2018 visit www.humphryrepton.org or follow #Repton200 on Twitter.

Lady Liberty Looks Better Than Ever

Posted in anniversaries by Editor on January 16, 2017

This is my first time to publish a press release (12 January 2017) from the United State Mint, and I’m afraid it reads like a government press release. But oh, the news! I especially like the headline from The New York Times, “The Coin? Gold. Its ‘Real Value’? Lady Liberty Is Black.”

Those familiar words of Dr. Martin Luther King now probe another layer of meaning, at the intersection not only of economics and justice, but also currency and representation: “But we refuse to believe that the bank of justice is bankrupt. We refuse to believe that there are insufficient funds in the great vaults of opportunity of this nation. And so, we’ve come to cash this check, a check that will give us upon demand the riches of freedom and the security of justice.” CH

Designed by Justin Kunz and sculpted by Phebe Hemphill, 2017 American Liberty 225th Anniversary Gold Coin.

Designed by Justin Kunz and sculpted by Phebe Hemphill, 2017 American Liberty 225th Anniversary Gold Coin.

Treasury Secretary Jacob Lew, Deputy Treasury Secretary Sarah Bloom Raskin, and United States Mint (Mint) Principal Deputy Director Rhett Jeppson today unveiled designs for the 2017 American Liberty 225th Anniversary Gold Coin in the historic Department of the Treasury’s Cash Room. The ceremony, led by Mint Chief of Staff Elisa Basnight, kicked off a year-long series of events in celebration of the Mint’s 225th anniversary in 2017.

“We are very proud of the fact that the United States Mint is rooted in the Constitution,” said Principal Deputy Director Jeppson. “Our founding fathers realized the critical need for our fledgling nation to have a respected monetary system, and over the last 225 years, the Mint has never failed in its mission.”

The 2017 American Liberty 225th Anniversary Gold Coin design is unique in that it portrays Liberty as an African-American woman, a departure from previous classic designs. The obverse (heads) design depicts a profile of Liberty wearing a crown of stars, with the inscriptions: ‘LIBERTY’, ‘1792’, ‘2017’, and ‘IN GOD WE TRUST’. The reverse (tails) design depicts a bold and powerful eagle in flight, with eyes toward opportunity and a determination to attain it.  Inscriptions include ‘UNITED STATES OF AMERICA’, ‘E PLURIBUS UNUM’, ‘1OZ. .9999 FINE GOLD’, and ‘100 DOLLARS’. The obverse was designed by Mint Artistic Infusion Program (AIP) Designer Justin Kunz and sculpted by Mint Sculptor-Engraver Phebe Hemphill, while the reverse was designed by AIP Designer Chris Costello and sculpted by Mint Sculptor-Engraver Michael Gaudioso.

The 2017 American Liberty 225th Anniversary Gold Coin will be struck in .9999 fine 24-karat gold at the West Point Mint in high relief, with a proof finish. The one-ounce coin will be encapsulated and placed in a custom designed, black wood presentation case. A 225th anniversary booklet with certificate of authenticity will accompany each coin.

The 2017 American Liberty 225th Anniversary Gold Coin is the first in a series of 24-karat gold coins that will feature designs which depict an allegorical Liberty in a variety of contemporary forms-including designs representing Asian-Americans, Hispanic-Americans, and Indian-Americans among others-to reflect the cultural and ethnic diversity of the United States. These 24-karat gold coins will be issued biennially. A corresponding series of medals struck in .999 silver, with the same designs featured on the gold coins, will also be available. The Mint will announce additional information about the 2017 American Liberty 225th Anniversary Gold Coin prior to its release on April 6.

Exhibition | Winckelmann, Florence, and the Etruscans

Posted in anniversaries, exhibitions by Editor on December 9, 2016

Winckelmann turns 300 next December 9th. In anticipation of the event, the National Archaeological Museum presents this exhibition:

Winckelmann, Florence, and the Etruscans: The Father of Archeology in Tuscany
Winckelmann, Firenze e gli Etruschi: Il padre dell’archeologia in Toscana

Museo Archeologico Nazionale, Florence, 26 May 2016 — 30 January 2017

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Anton von Maron, Portrait of Johann Joachim Winckelmann, 1768, oil on canvas, 136 × 99 cm (Weimar: Stadtschloss).

Johann Joachim Winckelmann (1717–1768), the Prussian art scholar who was superintendent of antiquities of Rome, had a purpose behind his stay in Florence: to broaden knowledge of the Etruscan civilization. From 1758 to 1759, Winckelmann lived in Florence, where he hoped to complete his work. Ahead of the three hundredth anniversary of his birth—and while waiting to celebrate more widely with a conference in 2017—the Archaeological Museum of Florence presents the exhibition Winckelmann, Firenze e gli Etruschi (Winckelmann, Florence and the Etruscans), from May 26 to January 30, 2017.

Winckelmann’s studies of classical works, particularly his Geschichte der Kunst des Alterthums (The History of Art in Antiquity) of 1764, promoted the aesthetics of neoclassicism and created a sensibility and a taste that influenced all of late eighteenth-century Europe; furthermore, the Winckelmann methodological approach provides the basis of modern art history. The exhibition, installed on the ground floor of Florence’s Archaeological Museum, consists of three sections. The first addresses the study of antiquities and private collecting in mid-eighteenth-century Florence. The second section is more specific to Winckelmann’s Florentine studies, including his cataloguing of Baron von Stosch’s collection of gems, of which casts are on exhibit. Finally, the third section shows the cultural legacy that Winckelmann left to the Grand Ducal city and the whole of Europe, with the neoclassical style born from this man’s notes and publications.

4756Visitors are welcomed to the exhibition by the large, late-Etruscan bronze sculpture of The Orator (Aulus Metellus). It must be remembered, however, that in Winckelmann’s opinion, Etruscan art was not at the level of Greek art because of the Etruscans’ inability to detach themselves from their passions. After visiting this exhibit, visitors can continue on to the Museum to admire other masterpieces of Etruscan art, including the Chimera and the Idolino.

Barbara Arbeid, Stefano Bruni, Mario Iozzo, eds., Winckelmann, Firenze e gli Etruschi: Il padre dell’archeologia in Toscana Winckelmann, Florenz und die Etrusker: Der Vater der Archäologie in der Toskana (Pisa: Edizioni ETS, 2016), 347 pages, ISBN: 978 8846745187 (Italian) / ISBN: 978 8846745194 (German), 28€.

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London’s Blue Plaques Turn 150

Posted in anniversaries, on site by Editor on November 12, 2016

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From English Heritage:

London’s famous blue plaques link the people of the past with the buildings of the present. Now run by English Heritage, the London blue plaques scheme is thought to be the oldest of its kind in the world and celebrates its 150th anniversary this year. Across the capital over 900 plaques, on buildings humble and grand, honour the notable men and women who have lived or worked in them.

The official blue plaques app is now available to download for free for iPhone and Android. Use the app to follow guided walks around Soho and Kensington, or explore all of the 900 plaques by finding ones nearby and searching for your favourite figures from history. From Sylvia Pankhurst’s former home in Chelsea to Jimi Hendrix’s flat in Mayfair, let English Heritage’s blue plaques guide you through the streets of London. Download the free app now from the Apple App Store for iPhone or the Google Play Store for Android.

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Frank and Sue Ashworth have been making the Blue Plaques from their home since 1986; for photos, see The Daily Mail (2 May 2016).

Katie Engelhart recently wrote about the Blue Plaques for The New York Times (10 November 2016).

 

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Capability Brown Festival 2016 Marks Designer’s 300th Birthday

Posted in anniversaries, conferences (to attend), on site by Editor on March 14, 2016

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Blenheim Palace

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Press release for the Festival, which includes events throughout the year:

Capability Brown Festival 2016

The Capability Brown Festival 2016 is the first-ever nationwide celebration of the work of Lancelot ‘Capability’ Brown (1716–1783). It marks the 300th anniversary of his birth in August 1716. The Festival unites 19 partner organisations, in the UK’s largest festival of its kind to date. It is funded with a grant from the Heritage Lottery Fund, with additional match funding, and funding in kind, from the Festival’s partners and supporters. The Festival is managed by the Landscape Institute.

Richard Cosway, Portrait of Lancelot ‘Capability’ Brown, ca.1770–75 (Private Collection/Bridgeman Images)

Richard Cosway, Portrait of Lancelot ‘Capability’ Brown, ca.1770–75 (Private Collection/Bridgeman Images)

The Festival has two key strands. The first is about increasing audiences and public access to the sites Brown worked or advised on. People will be able to explore and engage with Brown’s legacy landscapes, features and houses. The Festival will encourage as many Brown sites as possible to open in 2016, including those not ordinarily open to the public, and will support site owners and guardians in interpreting their landscapes for visitors. The second strand of the project is to discover more about Brown’s work and how he created his amazing landscapes and management systems with the tools available in the eighteenth century. Researchers, volunteers, independent groups and individuals, universities and sites themselves are being encouraged to undertake research projects on Brown and his work. This will be collated and shared through exhibitions, websites, social media and a range of events.

The Capability Brown Festival 2016 will
• Celebrate Capability Brown as an artist and landscape designer
• Encourage an increased number of people and a more diverse audience to visit, learn about and enjoy Brown’s landscapes
• Commission a range of interesting and innovative projects to encourage sites and people to get involved across the country
• Encourage a greater appreciation of our designed landscape heritage.

stowe_mapTo achieve this the Festival project team will
• Offer a comprehensive programme of support to owners of Brown sites, aiming to open as many as possible during Festival year, including those not normally open to the public
• Develop a network of hub sites across England to support and engage the Brown sites in their area or region
• Work with sites, with a special focus on those in urban areas and those commissioned to run projects, to bring Brown to new audiences
• Interpret all or as many sites as possible, using research by volunteers who will be trained and supported by the Festival
• Use media, PR, partner and central communication opportunities to promote understanding of Brown’s art and design influence
• Stimulate new research, and create a definitive record of Brown sites
• Ensure that the Festival’s findings, research and learning resources are accessible to as many people as possible, and share learning as it develops through a programme of regional seminars
• Engage volunteers in all aspects of the 2016 celebrations.

Lancelot ‘Capability’ Brown changed the face of eighteenth-century England, designing country estates and mansions, moving hills and making flowing lakes and serpentine rivers. Brown was baptised on 30 August 1716 at Kirkharle, Northumberland, the fifth of the six children of William Brown, a yeoman farmer and Ursula, née Hall, who had worked in the big house on the Kirkharle estate. He went to the village school at Cambo, and then began work as a gardener at Kirkharle, leaving in 1739. In 1741 he reached Stowe, Buckinghamshire where he rapidly assumed responsibility for the execution of both architectural and landscaping works in the famous garden. It was at Stowe in 1744 that Brown married Bridget Wayet, with whom he eventually had nine children. While at Stowe, Brown also began working as an independent designer and contractor and in autumn 1751, shortly after Cobham’s death, he was able to move with his family to the Mall, Hammersmith, the market garden area of London. His nickname of ‘Capability’ is thought to have come from his describing landscapes as having ‘great capabilities’.

Brown’s style derived from the two practical principles of comfort and elegance. On the one hand there was a determination that everything should work, and that a landscape should provide for every need of the great house. On the other his landscapes had to cohere and look elegant. While his designs have great variety, they also appear seamless owing to his use of the sunk fence or ‘ha-ha’ to confuse the eye into believing that different pieces of parkland, though managed and stocked quite differently, were one. His expansive lakes, at different levels and apparently unconnected, formed a single body of water as if a river through the landscape, that like the parkland itself, ran on indefinitely. This effortless coherence is taken for granted today in a way that was predicted in his obituary: ‘where he is the happiest man he will be least remembered, so closely did he copy nature his works will be mistaken’.

Brown offered a number of different services to his clients: for a round number of guineas, he could provide a survey and plans for buildings and landscape, and leave his client to execute his proposal; more frequently he provided a foreman to oversee the work, which would be carried out by labour recruited from the estate. Even in 1753, when he opened his account with Drummond’s Bank, Brown was employing four foremen and by the end of the decade he had over twenty foremen on his books. Finally, he could oversee and refine the work himself, usually by means of visits for a certain number of days each year. He also practiced architecture, and during the 1750s contributed to several country houses, including Burghley House, Blenheim, Chatsworth and Harewood. However, his architecture played second fiddle to his ‘place-making’. In 1764 he was appointed to the gardens of Hampton Court, Richmond and St James’s, and he then moved to Wilderness House, Hampton Court.

Brown had suffered from asthma all his life, and his habit of the constant travel, together with his practice of not always charging for work (he would sometimes allow his client to determine the value of what he had done and seems frequently to have submitted plans and surveys without a bill), did affect both his health and finances. He continued to work and travel however until his sudden collapse and death on February 6th, 1783. He died at his daughter Bridget Holland’s house in London, but was buried at Fenstanton, in Cambridgeshire, the only place he is known to have owned property and where he became Lord of the Manor.

Brown is best remembered for landscape on an immense scale, constructing not only gardens and parkland, but planting woods and building farms linked by carriage drives, or ‘ridings’, many miles from the main house. Although his work is continually reassessed, every landscape gardener and landscape architect since, both in Britain and across the developed world, has been influenced in one way or another by Brown. Over two centuries have passed since his death, but such are the enduring qualities of his work that over 150 of the 260 or so landscapes with which he is associated remain worth seeing today. The images that Brown created are as deeply embedded in the English character as the paintings of Turner and the poetry of Wordsworth.

Founding Partners
The Landscape Institute
The National Trust
The Historic Houses Association (HHA)
English Heritage
Historic England
VisitEngland
The National Garden Scheme
The Gardens Trust
Kolab
The National Association of Decorative & Fine Arts Societies (NADFAS)
VisitBritain
Parks & Gardens UK

Festival Partners
Blenheim Palace
The Royal Horticultural Society
Bridgeman Images
The Embroiderers’ Guild

Festival Supporter
The Georgian Group

Festival Funder
Heritage Lottery Fund

Happy Birthday, Enfilade!

Posted in anniversaries, site information by Editor on June 23, 2015

From the Editor

As Enfilade turns six, I continue to be amazed at the growth of the siteall because of you fabulous readers! This spring we passed the half-million hits threshold. A typical month brings in more than 10,000 visits, and over 1300 of you are subscribers. Thank you.

And so I’ll extend in my usual annual pleas:

1) Buy an art book this week. In the world of academic art history publishing, several hundred books sold over a few days is stellar. It’s an important way to communicate that the eighteenth century is a thriving field with a vital, engaged audience.

2) Renew your HECAA membership. In the normal world $30 doesn’t really count as philanthropy. For a small academic society it does. And thanks to Michael Yonan’s indefatigable work with the IRS in securing HECAA’s 501c3 status, all donations are now tax deductible in the United States. So send in a contribution of $100 or $5. But donate something. We accept PayPal.

3) Finally, send in news you’d like to see reported! Years into this, and I’m not sure what surprises me more: how easy it is to know what’s going on in the field all over the world, or how difficult it is to know what’s going on in the field all over the world! I’m glad to post announcements about conferences, forthcoming books, journal articles, exhibitions, fellowship opportunities, &c. The postings readers most enjoy are inevitably original content, reports of interesting collections, house museums, resources, and the like. No reason to be shy.

Again, thanks to all of you and all the best!
Craig Hanson

Hermione Voyage 2015

Posted in anniversaries, the 18th century in the news by Editor on June 5, 2015

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From the Hermione Voyage 2015 website:

Twenty years ago, a small group dreamed of reconstructing an exact replica of General Lafayette’s 18th-century ship called the Hermione. Today, the majestic vessel is the largest and most authentically built Tall Ship in the last 150 years. The Hermione has set sail in France, launching an adventure that comes to the USA in the summer of 2015 for an unprecedented voyage.

In April 2015, after a period of sea trials and training in 2014, the Hermione set sail for the USA. The journey started from the mouth of the River Charente, in Port des Barques, where Lafayette boarded on March 10th, 1780. The transatlantic crossing was expected to take 27 days in total, before making landfall at Yorktown, Virginia.

As the Hermione moves up the Eastern seaboard, it will be accompanied by a range of pier side activities. These include in some ports a traveling exhibition and a heritage village that will be accessible to the public. The Hermione Voyage 2015 is part of an expansive outreach program with cultural events, exhibitions, and educational programs that celebrate the trip and mark its progress. A robust digital activation for the voyage expands the reach of the project to millions of people.