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    "title": "Exhibit - \"The Eye of Thomas Jefferson\" - National Gallery of Art",
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    "ocrText": "The original documents are located in Box 66, folder \"Exhibit - \"The Eye of Thomas\nJefferson\" - National Gallery of Art\" of the John Marsh Files at the Gerald R. Ford\nPresidential Library.\nCopyright Notice\nThe copyright law of the United States (Title 17, United States Code) governs the making of\nphotocopies or other reproductions of copyrighted material. Gerald R. Ford donated to the United\nStates of America his copyrights in all of his unpublished writings in National Archives collections.\nWorks prepared by U.S. Government employees as part of their official duties are in the public\ndomain. The copyrights to materials written by other individuals or organizations are presumed to\nremain with them. If you think any of the information displayed in the PDF is subject to a valid\ncopyright claim, please contact the Gerald R. Ford Presidential Library.\nDigitized from Box 66 of the John Marsh Files at the Gerald R. Ford Presidential Library\nTHE WHITE HOUSE\nWASHINGTON\nAugust 15, 1975\nMEMORANDUM TO:\nTED MARRS\nJIM CANNON\nJIM CONNOR\nBOB GOLDWIN\nRUSS ROURKE\nWARREN RUSTAND\nPAUL THEIS\nFROM:\nJACK MARSH July\nCarter Brown came to see me in reference to the proposed exhibit\nentitled, \"The Eye of Thomas Jefferson\" currently scheduled for\nJune 1 at the National Gallery of Art. Because of the forthcoming\nvisit about that same time of Giscard Estaing, he is suggesting a\nchange in the opening of the visit to the 31st of May.\nHe thinks it would be helpful to tie in the opening of this exhibit\nwith the visit of the President of France, who will be here at that\ntime to present the sound and light gift to Mount Vernon.\nCarter said that as a part of their exhibit, they are planning on having\na French fireworks show similar to the type of display that would have\noccurred during Jefferson's time. In fact the fireworks company who\nwill be making the fireworks for the display is the same company that\nmanufactured the fireworks that Jefferson observed when he was in\nParis.\nCarter is very anxious to have Presidential participation in this event,\nand I think it is something that should be seriously considered.\nFORD is LIBRARY GENALD\nAUG 26 1975\nRevin R\nTHE WHITE HOUSE\nWASHINGTON\nT/m\nAugust 25, 1975\nMEMORANDUM FOR:\nJACK MARSH\nFROM:\nTED MARRS your\nWe have been advised by Carter Brown that the\n\"Eye of Jefferson\" exhibit will have its formal\nopening on May 31 or June 1, 1976. The visit\nof the President of France is scheduled for\naround the 20th of May. Consequently, there is\nno possibility of combining this event with the\nFrench President's visit.\nA schedule proposal for Presidential participation\noh!\nin the opening of the \"Eye of Jefferson\" exhibit\nhas been placed in the system. However, we will\nnow amend that to reflect the new dates.\nSuggest the Gescard d'Estaing visit and the \"Sound\nand Light\" show be a separate proposal.\nagree!\nsent to T. hrs 9/9/75\nM\nFORD is LIBRARY GERALD\nSEP 13 1975\nTHE WHITE HOUSE\nWASHINGTON\nM\nSeptember 11, 1975\nMEMORANDUM FOR:\nJACK MARSH\nFROM:\nTED MARRS Jun\nAttached is the Schedule Proposal which has been\nturned in concerning \"The Eye of Jefferson\"\nExhibition.\nBecause of the separation of time between the\nGiscard visit and the opening of the exhibition,\nwe have completely separated the two events and\nare suggesting the President participate in the\nJ. Carter Brown dinner leaving the \"Sound and\nLight Show\" to the government of France to suggest.\nI'll keep you informed of progress.\nAttachment\nDur intelligence is that\nGiscard is going to\ninvote the President\nto be involved.\nJoh\nERALS the FORD\nTHE WHITE HOUSE\nSCHEDULE PROPOSAL FOR THE PRESIDENT\nDATE: AUGUST 4, 1975\nWASHINGTON\nFROM: TED MARRS\nTHRU: JACK MARSH\nVIA: WARREN RUSTAND\nATTEND:\n\"The Eye of Jefferson\" exhibit, and\ndeliver brief remarks\nDATE:\nAugust, 1976\nPURPOSE:\nTo pay tribute to the cultural taste of\nJefferson which includes many international\nworks of art, most notably the \"Venus de\nMedici,\" and to give the President an\nopportunity to recognize that side of\nAmerican life.\nFORMAT:\nNational Gallery of Art, Washington, D.C.\nList of participants to be provided\n45 minutes (10 minutes of remarks)\nCABINET PARTICIPATION:\nNone\nSPEECH MATERIAL:\nRemarks to be provided by the Editorial\nDivision.\nSTAFF:\nJack Marsh\nTed Marrs\nRobert Goldwin\nMilt Mitler\nRECOMMEND:\nJack Marsh\nTed Marrs\nRobert Goldwin\nMilt Mitler\nOPPOSED:\nNone\nPREVIOUS PARTICIPATION:\nNone\nSERALE 8. FORD\nPRESS COVERAGE:\nFull press coverage\nBACKGROUND:\n\"The Eye of Jefferson\" show will be the\nlargest exhibit ever held in the Washington\nNational Gallery. It will have 400 to\n500 paintings, drawings (including the\nDesign Competition drawings for the White\nHouse) and models. There will also be\n-2-\npieces of furniture, a documentary film,\na book of 12 essays also issued as separate\ntracts, 18th century style, and a catalogue\nby about 20 scholars. On view from June 3\nthrough September 6, 1976, this exhibit\nwill focus on Jefferson and his many\nfar-reaching visual interests that have\ninfluenced this president, and through\nhim, have influenced the Nation.\nMoving from the cultural and social\nenvironment of Colonial Virginia, where\nhe spent his youth and formative years,\nJefferson grew to confront the political\nrealities of England, the source of the\nvery environment in which he had matured.\nAs minister to France, Jefferson moved\nquickly and with utter assurance into the\nintellectual and artistic scene of Europe\nfollowing his arrival there in 1784. That\nscene involved lively interests in science,\narcheology, national history, antiquities,\npaintings, sculpture, architecture, land-\nscape design, and city planning. He\npursued these interests not only in France,\nbut also in the other countries he visited\nEngland, Germany and Italy. When he returned\nto the United States in 1789, he brought\nhis interests to bear on the artistic\nand cultural, as well as the political\ndevelopment of his country.\nThe renowned third-century B.C. sculpture\nknown as the Venus de Medici from the\nGalleria degli Uffiz, in Florence, Italy,\nwill be part of \"The Eye of Jefferson.\"\nThe generosity of the Italian people is\ndemonstrated by the fact that the only\nother comparable transatlantic event\ninvolving a world masterpiece of sculpture\nwas the Vatican's loan of Michelangelo's\n\"Pieta\" to the New York World's Fair in\n1964.\nAPPROVE\nsono\nDISAPPROVE\n..OCT 9 1975\nk\nOctober 3, 1975\nDear Mr. Brown:\nThrough the courtesy of Jack Marsh, who forwarded\nyour letter to the President together with his\nown personal endorsement, we have learned of your\ninvitation to the President to be present for the\nBicentennial salute \"The Eye of Themas Jefferson™\nsponsored by the National Gallery of Art on the\nevening of May 31.\nThe President was pleased to have this appealing\ninvitation and while it is not possible to make\na commitment to you at present due to the many\nvariables in the President's schedule for next\nyear, we are carrying your invitation forward for\ncareful consideration. In the meantime, please be\nassured of his deep appreciation for your thought-\nfulness and his warm good wishes.\nSincerely,\nWiliaam W. Nicholson\nDeputy Director\nScheduling Office\nMr. J. Carter Brown\nDirector\nNational Gallery of Art\nWashington, D.C. 20565\nGERALD FORD VIERARY\nCC: inf. copy to Mr. Marsh\nCC: w/incoming to M. Widner\ncc: 2 cys aancy gemmell\nWWN:jem\nsent to more 10/10\nThe Eye of Thomas Jefferson\" at the Natl Gallery\nof Art at the opening on May 31\nSCHEDULING ROUTING MEMO\nSubject:\nOriginator: John Marsh\nTo 1. Individual\nProcessed\nComments for Carter Brown\nW. Nicholson\n8/18\nof the NaH Gallery\nW. Rustand\nStaff to:\nH. Donaldson\n3 M. Widner\nMay 31,76\n2 M. Rawlins\nLTV to CAVIER\nN. Gemmeil\nBrown JACKMASH\nreturned\nWE will\ncarry forward\nfor MAY 31\nReturn to:\nand Smitch capit now\nAction:\ncat - to\nmary condred\nGPO 560-925\nTHE WHITE HOUSE\nWASHINGTON\nAugust 15, 1975\nMEMORANDUM TO:\nTED MARRS\nJIM CANNON\nJIM CONNOR\nBOB GOLDWIN\nRUSS ROURKE\nWARREN RUSTAND\nPAUL THEIS\nFROM:\nJACK MARSH Jane\nCarter Brown came to see me in reference 20 the proposed exhibit\nentitled, \"The Eye of Thomas Jefferson\" currently scheduled for\nJune 1 at the National Gallery of Art. Because of the forthcoming\nvisit about that same time of Giscard d'Estaing, he is suggesting a\nchange in the opening of the visit to the 31st of May.\nHe thinks it would be helpful to tie in the opening of this exhibit\nwith the visit of the President of France, who will be here at that\ntime to present the sound and light gift to Mount Vernon.\nCarter said that as a part of their exhibit, they are planning on having\na French fireworks show similar to the type of display that would have\noccurred during Jefferson's time, In fact the fireworks company who\nwill be making the fireworks for the display is the same company that\nmanufactured the fireworks that Jefferson observed when he was in\nParis.\nCarter is very anxious to have Presidential participation in this event,\nand I think it is something that should be seriously considered.\nFOND\nNational Gallery of Art\nWashington, D.C. 20565\nAugust 1, 1975\nDear Mr. President:\nOn behalf of the Trustees of the National Gallery\nof Art, I write to invite you and Mrs. Ford to be our\nguests at the opening of \"The Eye of Thomas Jefferson\",\nthe Gallery's tribute to the nation's birthday. It\nhas received unprecedented support with major loans\nand masterpieces coming from European as well as\nAmerican collections. Your own role in securing the\nloan of the Venus de'Medici during your recent visit\nwith President Leoni is itself a major contribution to\nthe success of the exhibition.\nI would appreciate it if the evening of June 1,\n1976 could be marked on your calendar to participate\nin a gala event. We are planning a special 18th Century\nfireworks display on the Mall following an inaugural\ndinner.\nRespectfully yours,\nCare\nJ. Carter Brown\nDirector\nThe President\nThe White House\nWashington, D.C. 20500\nFORD\nINTERNATIONAL STEERING COMMITTEE BICENTENNIAL EXHIBITION: The Eye of Thomas Jefferson\nSir Francis Watson. Chairman Frederick J. Cummings Frederick D. Nichols Robert Rosenblum\nW. Howard Adams\nItaln Faldi\nMerrill D. Peterson\nJean Seznec\nJames A. Bear, Jr.\nBasil Greenbill\nSir Nikolaus Pevsner Adolf Max Vogt\nJ. Carter Brown\nHugh Honour\nJules David Prown\nGabriel White\nGraham Hood\nPierre Rosenberg\nTHE WHITE HOUSE\nWASHINGTON\nAugust 18, 1975\nMEMORANDUM TO:\nWARREN RUSTAND\nFROM:\nJOHN KING\nSUBJECT:\nCARTER BROWN'S INVITATION\nAttached is Carter Brown's invitation to the President to visit the\nopening of \"The Eye of Thomas Jefferson\" exhibit. Also attached is Jack\nMarsh's memo on the subject.\nWhen Carter visited with Jack, his information was that President\nGiscard's visit would overlap with the opening of the exhibit. He\ntherefore broached the possibility with Jack of tying in the opening of\nthe exhibit with the visit. Since then, I checked with the NSC and\nlearned that the dates for the Giscard visit are now set for May 17-20.\nI called Carter, told him this, and asked whether this changed his\nproposal. He mentioned that he cannot move the opening up because of\ncommitments from lenders, and that the best he could do would be to\noffer to give Giscard a \"sneak preview\" of the exhibit during his visit.\nCarter would still like to invite the President to attend the formal\nopening of the exhibit on June 1st.\nIn case the 1st is not open, Carter could arrange for the opening to be\nheld on May 31st if that would be more convenient. Carter also men-\ntioned that he will write to Jack Marsh describing these changes and the\nreason for them.\nMr. Goldwin supports the President's attendance at the opening of the\nexhibit on June 1st (or May 31st).\nAttachments\nTHE WHITE HOUSE\nWASHINGTON\nJune 1, 1976\nDonna:\nHere is the paper on the Eye\nof Thomas Jefferson.\nI have a more complete background,\nif you need it.\nMilt this Mitler\nThe exhibit opens to\nthe public on June Sth.\n2740\nTHE EYE OF THOMAS JEFFERSON\nOf all the Founding Fathers, Jefferson alone sustained a life-\nlong commitment to the visual arts both for his own edification\nand delight and for the cultural enrichment of this nation.\nThe aesthetic and intellectual environment in which his\neye and his imagination developed, and the works initiated and\nproduced by that development, form the subject of the\nexhibition which will be opened at the National Gallery of\nArt with a preview on the evening of June 1, 1976, beginning\nat 8:30 PM.\nThe exhibition will envoke Jefferson's visual and intellectual\nenvironment through painting, sculpture, drawings and prints,\nbooks, decorative arts, architecture, and landscape design.\nExamples will range from antique sculpture to silver and\nfurniture, and Jefferson's own drawings and designs will be\nextensively represented. Approximately 550 pieces will be\nincluded from more than 100 collections in Europe and\nNorthern America.\nThe exhibition has been organized by the National Gallery of\nArt and is supported by a grant from the Exxon Corporation.\nAt approximately 10:00 PM, mini-buses will transport those\nattending the preview from the Gallery to the Reflecting Pool\nat the United States Capitol to view a spectacular pyrotechnics\ndisplay supposedly similar to that which Jefferson saw when he\nwas in France. In the event of rain, the fireworks display\nwill be held on Wednesday evening, June 2nd.\nThere will be special seating at the Reflecting Pool as well\nas seating for the general public. It has been estimated that\nsome 70,000 people may attend that part of the event.\nFORD\nTHE EYE OF THOMAS JEFFERSON\nA synopsis and revised checklist\nof the exhibition to be held at\nthe National Gallery of Art,\nJune - September 1976.\nWilliam Howard Adams\nFORD i LIBRA BERALD\nDecember 1974\n\"You see I am an enthusiast on the subject of the arts.\"\nTHE EYE OF THOMAS JEFFERSON\nA synopsis and checklist of\nthe exhibition to be held at\nthe National Gallery of Art,\nJune - September 1976.\nWilliam Howard Adams\n\"As this is the anniversary of our Independence our sensations of pleasure\nare much increased from the idea that we are addressing ourselves to a man\nwho sustained so conspicuous a part in the immortal transactions of that\nday \"\nJoel Barlow\nParis, July 4, 1789\nRALD FORD\nTHE EYE OF THOMAS JEFFERSON\nINTRODUCTION\nI.\nTHE LAND OF PROMISE: BRITISH AMERICA\n1. Virginia\n2. The Sister Colonies\nII. THE BRITISH CONNECTION: A SUMMARY VIEW\n1. London\n2. Politics\n3. Arts and Letters\n4. Society\nIII.\nTHE PROGRESS OF THE HUMAN MIND\n1. Science\n2. Exploration\n3. Antiquity\nIV.\n\"OUR REVOLUTION\"\nV.\nEUROPE: THE VAUNTED SCENE\n1. Paris\nViews of the City and Neighboring Areas\nPolitical and Social Life\nIntellectual and Artistic Life\nFrench Revolution\n2. Jefferson, Tourist\nVI.\nTHE JEFFERSONIAN CREATION\n1. Decorative Arts\n2. Domestic Architecture\n3. Public Buildings\n4. Planning of Cities\n5. University of Virginia\nTHE PLEASURES OF NATURE\n(East Garden Court)\nFORD\nTHE EYE OF THOMAS JEFFERSON\nIntroduction\n\"Thomas Jefferson still survives.\"\nJohn Adams\nJuly 4, 1826\nIn his History of the United States, Henry Adams observed that while a few\nbroad strokes of the brush would paint the portraits of most of the early presi-\ndents, \"Jefferson could be painted only touch by touch.\" Even though this exhi-\nbition will in no way attempt a full portrait, it will nevertheless reveal some\nof the least known and subtlest facets of that remarkable, Renaissance mind --\nhis constant and searching study of the visual world, the informing curiosity\nthat fired his interest in the arts as well as the sciences, personifying the\ncreative public man par excellence. It would indeed be presumptuous to pretend\nthat \"The Eye of Thomas Jefferson\" encompasses more than a fragment of the field\nof \"vision\" of Jefferson, since nothing seems to have been beyond it. It will\nrather suggest, hint, evoke and in some few areas, make concrete, something of\nthat aesthetic and intellectual world which he saw, recorded, assimilated and\nheld to be an example -- both good and bad -- worthy of study by the New Republic.\nTo establish an immediate presence of the man and give a direct visual\nimpression of his achievements, the Introduction to the exhibition will draw the\nvisitor into the long undulating hall and elliptical room that he designed for\nthe Rotunda at the University of Virginia, a unique Jeffersonian space constructed\nfrom his own plans. The entrance will be in the East Sculpture Gallery, and those\napproaching through the east entrance of the building can simply cross the Garden\nCourt to reach the beginning of the exhibit. The atmosphere will be spare, dramatic\nFORD\n- 2 -\n-\nand light, with only a few life portraits and the Houdon bust lining the way.\nIn the elliptical room there will be Trumbull's Declaration and the monumental\nSully portrait of Jefferson from West Point, placed on the axis with the entrance\nto the exhibition. Some appropriate quotations, enlarged so as not to detain the\nvisitor, will be spaced along the curving walls.\nFrom this introduction, the visitor will then move into the remote,\nnarrow, vanished colonial world in which Jefferson grew to maturity,\n- 3 -\nI.\nThe Land of Promise British America\n1. Virginia\n\"Certainly it must be a happy climate, since it is very near the same latitude\nwith the Land of Promise, \"\nRobert Beverly\nThe History of the Present\nState of Virginia, 1705\n\"They were truly Attic societies.\"\nJefferson to L.H. Girardin\nJanuary 15, 1815\nThe largest colony in America, proud, old, settled in the Tidewater;\nrough, plain and aspiring on its Piedmont frontier, the Virginia of Jefferson's\nyouth was, in his own words, \"a country isolated from the European world, insulated\nfrom its sister colonies, with whom there was scarcely any intercourse, little\nvisited by foreigners\n\"\nIt was on the frontier of this self-contained and yet divided \"country,\"\nat Shadwell in the edge of the Piedmont, that Jefferson was born, the son of an\nindependent pioneer but through his mother, Jane Randolph, related to the great\nand rich planter aristocracy whose center was the capital at Williamsburg.\nThis opening chapter will attempt to give some idea of the cultural, social\nand aesthetic world of Jefferson's youth and formative years through a gathering\nof Virginia paintings and objects spanning in time the years 1740 to 1770. To\nestablish the physical boundaries of this world, the first correct map of the\nprovince, drawn in 1751 by Jefferson's father, the pioneer-explorer Peter Jefferson,\nand Joshua Fry, Professor of Mathematics in the College of William and Mary, could\nnot be improved upon. \"For the particular geography of our mountains I must refer\nto Fry and Jefferson's map of Virginia,\" Jefferson wrote with some pride; elsewhere\nhe calls it \"the first map of Virginia which had ever been made; that of Captain\nRELD 8. FORD\n- 4 -\nSmith being merely a conjectural sketch.\" A few family portraits - all\nRandolphs and including Jefferson's first American ancestor, William\nRandolph I -- will lead naturally to his circle of friends and relatives\namong the gentry. \"They trace their pedigree far back in England and Scotland,\nto which let everyone ascribe the faith and merit he chooses.\" While there\nare no portraits of Jefferson as a young boy, two of his childhood friends,\nJohn Page, Jr. and Thomas Nelson, Jr., have come down to us in handsome\nportraits from those early years. Indeed a number of appropriate Virginian\nportraits of children from the period, such as the large Children of the\nHonorable Philip Grymes and Mann and Elizabeth Page, will give this section\nan air of youth that will be very appealing.\nAt the age of sixteen the young Jefferson left Shadwell for Williamsburg\nand the College of William and Mary. \"By going to the College,\" he wrote\nhis guardian, \"I shall get a more universal Acquaintance, which may. hereafter\nbe serviceable to me; and I. suppose I can pursue my Studies in Greek and Latin\nas well there as here, and likewise learn something of the Mathematics,\"\nIn Williamsburg he was to find, as an English traveler of the time described\nit, \"one handsome street ... just a mile in length, where the view is terminated\nby a commanding object each way; the Capitol\n...\nat one end of the street; and\nthe College of William and Mary, an old monastic building, at the other end.\nAbout the center\n...\nstood the Palace, the residence of the Governor, a large,\ncommodious, and handsome building.\"\nThe personalities that moved between the Capitol, the Palace and the\nCollege and the social and intellectual life that flourished there and on\nthe surrounding plantations will be evoked by some very good paintings and\n- 5 -\ndecorative arts of the period. Portraits will include Peale's George\nWashington as Colonel in the Virginia Regiment; William Byrd II of Westover;\nthe three Royal Governors, Botetourt, Fauquier, and Dunmore; Speaker Peyton\nRandolph; Mann Page and his wife of Rosewell, where Jefferson spent many days\nwith his friend, John Page, Jr.; the actress Nancy Hallam as she appeared in\nthe Williamsburg Theater; and even a copy of Correggio by Matthew Pratt which\nwas exhibited in Williamsburg in 1773. A small but fine selection of docu-\nmented Virginia church silver will mark the presence of the Established Church\nin colonial life and broaden the overall picture of Britain's largest and\nmost important American colony.\nArchitecture, like the world of nature, is a vital interest that runs\nthrough Jefferson's life, and it is important to orchestrate this leitmotif\nto accompany the major themes of the exhibit. Each principal section will\nhave a model of a building significant in Jefferson's own life or related to\nhis development as a student of architecture. \"Architecture being one of the\nfine arts,\" he observed in his Notes on the State of Virginia, \"and as such\nwithin the department of a professor of the college, according to the new\narrangement, perhaps a spark may fall on some young subjects of natural taste,\nkindle up their genius, and produce a reformation in this elegant and useful\nart.\"\nHere Rosewell, the great Georgian mansion of the Page family built in\n1730 on the York River, will be the architectural focus. Exemplifying the\nVirginia manor house of the period on the grand scale, it happens to be a\nhouse that Jefferson knew very well. \"I reflect often with pleasure on the\nphilosophical evenings\n...\nat Rosewell.\" From its roof, where a good telescope\n- 6 -\n-\nwas installed, he was introduced to astronomy, and it was here that the young\ndemocrat exchanged some of his earliest political ideas, some say those of\nthe Declaration itself, with his friend John Page. A model of this important\nearly house, now a ruin, will contribute to the visual and intellectual con-\ntent of this opening chapter.\nJefferson's early interest in music -- \"the favorite passion of my soul --\nis well known, and the vision of those evenings in the company of Governor\nFauquier, playing quartets at the Governor's Palace and drinking in the\nGovernor's example of \"taste, refinement, and erudition,\" is one of the most\naffecting glimpses of his sojourn in that \"truly Attic\" society. A fine\neighteenth-century harpsichord or early pianoforte and perhaps one or two\nother instruments will underline this lifelong interest as well as give\nvisual variety to the selection of decorative arts.\nTo bring Jefferson into this first section, which covers a period\nwhen no life portraits exist, a small selection of his earliest drawings\nreflecting his interest in architecture, gardening and classical studies\nwill be presented, including a garden pavilion from Kent, the earliest\nfacade for Monticello, measured drawings of the Governor's Palace and\nplans for new buildings at William and Mary. These will be augmented by\nkey books he is known to have collected and studied during this period, such\nas Palladio's Four Books of Architecture and works of Morris, Gibbs, Chambers,\nWhately and Shenstone. Portraits of Newton, Bacon and Locke, \"the Trinity of\nImmortals\" whose sentiments he had copied into his Commonplace Book during\nthese formative years, will complete this brief statement on Jefferson's\neducation in the arts and philosophy.\n- 7 -\n2.\nThe Sister Colonies\n\"I Speak the Sentiments of America.\"\nJefferson\nWorks\nThis subsection, paralleling in time the presentation of Virginia,\nendeavors to portray something of the state of the arts in the colonies\nduring the decades preceding the Revolution, coinciding with Jefferson's\nearly years and education.\nThe paintings and decorative arts have been selected to indicate a\nfew of the high points of artistic achievement in the colonial centers of\nBoston, New York, Philadelphia and Charleston. Colonial craftsmanship\nwill be represented by outstanding examples of furniture and silver. The\njuxtaposition of the domestic scene in America with the British background\nof Section II will be instructive and will delineate the state of the arts\nin the political and cultural world of the colonies where Jefferson matured\nand achieved his earliest renown. Jefferson's travel during this period\nwas limited but he did go to Annapolis, Philadelphia and New York in 1766,\nenlarging his limited vision of the arts by the collections that he saw and\nthe architecture that he carefully noted.\nAs the visitor moves from this section into the larger scene of the\nseat of Empire in London, Ramsay's official portraits of George III and\nQueen Charlotte, versions of which were brought to Williamsburg by Lord\nDunmore, will provide the link or bridge and should flank the doorway exit.\n- 8 -\nVignette 1\nThe first of three slide presentations will footnote this opening section.\nIt is to be fast-paced and impressionistic, with little or no narration but\nwith contemporary quotes projected separately to give it structure. The\nslides themselves will be an unstructured assembly of architectural details,\nfrontier artifacts, fabrics, farm equipment of the period, mountains, rivers,\nunbroken wilderness panoramas, anomymous faces from paintings of the period\nand engravings from books, including Catesby's Natural History, giving a\nrich, various picture of the physical world that Jefferson grew up in but\nwhich was not recorded in paintings and drawings. Here we will see Tuckahoe,\nthe schoolroom where he first studied, the site of Shadwell, the Blue Ridge\nMountains, houses that he knew, the ruins of Rosewell, plates from books he\nowned, all carefully edited SQ that each object, view and engraving will\nhave some legitimate historical association with Jefferson's world as he\nknew it during this period. Where possible, these familiar scenes will be\nshown as they now appear in the twentieth century.\n- 9 -\nII.\nThe British Connection: A Summary View\n\"Great Britain was their country as much as America. Many of them had\nbeen born there; multitudes of them had been educated there\nThey\nwere the Countrymen\n...\nof Bacon, Locke, and Newton -- of Shakspeare\nand Milton\nThe noble benefactions and accumulations of ages in\nphilanthropy and in art, in many a priceless collection, were theirs.\nThe ancient public and private customs --- the traditions and prejudices --\nthe social maxims -- the bravery and loyalty in man -- the stainless\nfaith in women -- the happy and inviolable homes -- which were the\nbirth rights of Englishmen, were theirs.\"\nHenry Randall\nLife of Thomas Jefferson\nIn the classifications of history and the generalizations with\nwhich we attempt to arrange the past into some order, divisions are\nmade for seeming clarity. Kings, wars, heroes, scientific achievements\nand artistic watersheds are neatly grouped in ages, periods and movements.\nOne of the special advantages of an exhibition encompassing the life\nof a personality such as Jefferson is to break down those verbal, intel-\nlectual barriers and to let the viewer discover new insights and reorganize\nhis \"conventional wisdom,\" reinforced with works of art that communicate\nwhole worlds of the past freed from traditional compartments.\nAn undesirable division and remoteness exists in the minds of many\npeople between the colonial world that produced Jefferson, Adams, Franklin,\nMadison and Washington and the Empire of Great Britain -- of George III and\nDr. Johnson, of Sir Joseph Banks and Dr. Burney, of Garrick and Reynolds,\nRobert Adam and the Royal Academy.\nIn a sense, this section is a continuation of the exploration of the\nvisual, intellectual and social world in which Jefferson grew up three\nthousand miles from its political, social and cultural center.\n- 10 -\nThe city of London on the eve of the Revolution; the British political\nbackground, particularly as it relates to the colonies; members of the high\nWhig society at ease in their country seats and townhouses; the best examples\nof paintings, drawings and watercolors of the period roughly paralleling\nthe first section (but including Jefferson's one visit to England in 1786)\nwill all be introduced here, as well as the leading artists of the period\nwho recorded the chief personalities that figured in Jefferson's life.\nIn order to keep this section in appropriate scale, Jefferson's tour\nof English gardens and country houses will be included in a later section\ndevoted to his travels. The topographical views of London will, however,\nallude to scenes Jefferson undoubtedly saw or actually commented upon during\nhis brief stay.\nThe architectural reference will be views of Chiswick, the English villa\nwhich Jefferson visited and had early plates of, and which was, of course,\ninspired by his earliest architectural mentor Andrea Palladio. In the\nconcluding section of the exhibition, where the competition drawings for\nthe President's House will be shown, Jefferson's own entry echoes both\nChiswick and the Villa Rotonda in its plan and elevation. A drawing by\nKent in this later section will link Chiswick to Jefferson's architectural\nantecedents.\nHigh style Chippendale pieces selected for a drawing room and\nAdam dining-room furniture showing early classical influence, along with\nsome silver and porcelain, will enrich this section.\n- 13 -\nIV.\n\"Our Revolution\"\n\"You and I, my dear friend, have been sent into life at a time when the\ngreatest lawgivers of antiquity would have wished to live. How few of\nthe human race have ever enjoyed an opportunity of making an election\nof government\n\"\nJohn Adams\nThoughts on Government in a Letter\nfrom a Gentlemen to his Friend\nPhiladelphia, 1776\n\" we utterly dissolve & break off all political connection which may\nhave heretofore subsisted between us & the people or parliament of Great\nBritain; and finally we do assert and declare these colonies to be free\nand independant states, and that as free & independant states they shall\nhereafter have power to levy war, conclude peace, contract alliances,\nestablish commerce, & to do all other acts and things which independant\nstates may of right do. And for the support of this declaration we\nmutually pledge to each other our lives, our fortunes, & our sacred\nhonour.\n11\nJefferson\nDeclaration of Independence\nOriginal Rough Draft, 1776\nThe Revolution will be presented through the works of Trumbull, a few\nportraits and sculptures of American, British and French officers, and a\nsmall selection of French works recording military events. It will be\nkept in scale with Jefferson's own limited role in the military aspects\nof the event. Trumbull's scenes from the Revolution, so intimately connected\nwith Jefferson's interest in and patronage of the young artist in Paris, along\nwith portraits of the French officers Lafayette, Chastellux and Rochambeau,\nwho made up an important part of his circle of friends in Paris, will provide\nthe bridge to the section that follows.\nFORD\n- 14 -\nV.\nEurope: The Vaunted Scene\n\"Behold me at length on the vaunted scene of Europe! It is not necessary\nfor your information that I should enter into details concerning it. But\nyou are perhaps curious to know how this new scene has struck a savage of\nthe mountains of America.\"\nJefferson to Bellini\nSeptember 30, 1785\n1. Paris\nFrom his arrival in Europe in 1784 to his departure in 1789, Jefferson\nentered upon a totally new phase of his education and development in the\narts, With Maria Cosway, the Adamses, Trumbull, Bulfinch, William Short\nor alone, he was to devote every spare moment to the pursuit of paintings,\nsculpture, architecture, antiquities, landscape design and city planning.\nFor the first time he was actually to see and experience all those things\nhe knew secondhand from books and engravings. It was a turning point in\nhis development as architect and landscape-design enthusiast.\nAn important part of this section will be given over to exploring the\nactual works of art he discovered in Paris, notably in the Salons of 1785,\n1787 and 1789. Some thirty paintings and drawings from these exhibitions\nwill be hung in the style of the period, in close rank from floor to ceiling,\nand together with the sculpture will recreate something of the Salon atmo-\nsphere. Paintings and architectural drawings will also document Paris\ntopography and the buildings which actually influenced Jefferson's own later\nwork, such as Chalgrin's Saint-Philippe du Roule and Ledoux's Pavilion for\nMademoiselle Guimard. Other architects whose work interested Jefferson\ninclude Boullée, Rousseau and Clérisseau, and examples of their works will\ncarry forward the architectural theme. The impressive Roberts from the Salon\n- 15 -\nof 1785 will further highlight the contemporary interest in antiquities and\narchaeology. Portraits of the personalities that Jefferson knew, including\nmembers of the Court of Louis XVI, ministers of state and intellectual and\nartistic figures will also give a fair survey of French painting during the\nperiod without manipulating the selection of artists or subjects. Following\nthe Salon evocation, a small gallery will be devoted to works of art Jefferson\nspecifically commented upon and admired, including Houdon's Diana, Diana and\nEndymion by Michael-Angelo Slodtz, and paintings by Van Der Werf.\nFor the model in this section, the river façade of the Hotel de Salm,\nbecause of its influence on the rebuilding of Monticello, will be constructed.\n\"While in Paris,\" Jefferson wrote, \"I was violently smitten with the Hôtel de\nSalm, and used to go to the Tuileries almost daily to look at it.\"\nJefferson's earliest portrait by Mather Brown and those of John Adams\nand Bulfinch done at the same time will be reunited in this section. Only\nthose events of the French Revolution that Jefferson saw or recorded will\nbe covered here, beginning with the events leading up to the Revolution\nand concluding with the demolition of the Bastille.\nFrench furniture collected by Americans during the early years of the\nRepublic, notably by Jefferson himself, Gouverneur Morris, Washington,\nMonroe and the merchant Swan, will be assembled to illustrate the decorative\narts of the period. A few pieces of furniture commissioned by Louis XVI\nfor Washington but not delivered will also be included.\nFORD\n- 16 -\nVignette 2\nThe second vignette, again of slides and brief narrative, will present\na picture of the creative architectural ferment of Paris during the critical\ndecade of Jefferson's residence there. It is a subject that should be\nexplored in some depth, with photographs of surviving buildings and an\nexplanation of the importance of French theory and practice to the Neo-\nClassical style then emerging.\n- 17 -\n2.\nJefferson, Tourist\nJefferson's travels in France, England, Germany, Italy and Holland\nare famous and well-documented. Topographical views of the cities he\nvisited, historic sites. and scenes of antiquity will highlight a recon-\nstruction of his itineraries. His friendship with Maria Cosway, who shared\nsome of these travels, will be touched on in this part of the exhibit by\nincluding her portrait and the portrait of Jefferson which she prevailed\nupon Trumbull to copy for her from his original and which still hangs in\nthe convent she founded in Italy. Portraits of other traveling companions\nwill also be assembled.\nThe English garden tour of 1786 with John Adams will be a self-\ncontained interlude and will provide a natural link to the next section,\n\"The Jeffersonian Creation.\"\nA wall map showing Jefferson's travels will greet the visitor at\nthe start of this section.\nERALD ? FREE\n- 18 -\nVI. The Jeffersonian Creation\n\"It is not flattering to say that you have planted the arts in your country.\nThe works already created are the monnments of your judgment and your zeal\nand of your taste. The first sculpture that adorns an American public\nbuilding perpetuates your love and your protection of the fine arts.\"\nLatrobe to Jefferson\nAugust 13, 1807\n\"You see I am an enthusiast on the subject of the arts. But it is an\nenthusiasm of which I am not ashamed, as it's object is to improve the\ntaste of my countrymen, to increase their reputation, to reconcile to\nthem the respect of the world, and to procure them it's praise.\"\nJefferson to Madison\nSeptember 20, 1785\nIn this closing portion, an American president will be presented for\nthe first time as a major artist. Jefferson's contributions to architecture,\nthe decorative arts, the planning of cities and landscape design will be\nfully explored through his drawings and through photographs of surviving\nbuildings.\nAs a possible order of organization, the first gallery might be devoted\nto all of Jefferson's designs and commissions in the decorative arts: the\ntea urn, the silver goblets, furniture, and window treatments for Monticello.\nWhere possible, the actual objects and the sources of their design, along\nwith the drawings, will give this segment a scholarly dimension never\npresented before.\nThe design and production of commemorative medals was yet another\ninterest of Jefferson's eye and imagination. In 1780 he caused to be\nexecuted a medal for Virginia. His role in the design of the medals of\nthe Revolution is well known, and during his administration the production\nof Indian peace medals was regularized. A group of these medals and\noriginal designs will be introduced at this point in the exhibition.\n- 19 -\nFrom the presentation of Jefferson's decorative designs, the visitor\nwill then move into a gallery devoted to his contributions to domestic\narchitecture, where we shall assemble the largest exhibition of his drawings\never organized. Since they are small and can be mounted in groups, we shall\nbe able to have a great many examples, showing Jefferson's range, growth\nand creative achievements. In addition, enlarged photographs of the houses\nalong with details and interiors will be mounted next to the original\ndrawings. Not only will the visitor see elevations but a myriad of details\nthat could not be singled out or shown in any other way. Moldings, orders,\ndoors, upper windows, site plans, privies, outbuildings; larders, all the\nutilitarian areas of these houses that the public could never possibly\nvisit or see can be shown in photomurals.\nBecause Poplar Forest is considered by many to be Jefferson's finest\ndesign, a model of it will be included at this juncture along with Monti-\ncello, The evolution of the design of Monticello will be presented through\nboth enlargements of original drawings and photographs. Other houses\ndocumented will be Farmington, Barboursville and Bremo.\nMore than one hundred of Jefferson's architectural drawings from the\nMassachusetts Historical Society, the University of Virginia and the\nLibrary of Congress have been committed to the exhibition, allowing the\nthird President to be presented as an accomplished artist and architect.\nA high point in this last section will be Jefferson's public buildings\nat Richmond and Washington. Latrobe, Mills, Hadfield and Thornton will be\nintroduced through their portraits and works that relate to Jefferson's own\npersonal interests, including the capitols of Richmond and Washington, the\nPresident's House, and other public buildings of the new Federal City.\nFORD\nCHALD\nLIB\n- 20 -\nAll of the competitive drawings for the President's House, including\nHoban's winning and Jefferson's losing designs, will be presented as a group\nfor the first time, not only for their historic interest but as a survey of\nthe generally limited state of architectural thinking that existed at this\nperiod, in contrast to Jefferson's own bold, avant-garde conceptions.\nPlates from Palladio, Morris, Piranesi, Chambers and others will be\nshown as they relate to Jefferson's own works, in some cases enlarged and\nsilk-screened for visual interest in the galleries.\nThe closing statement of this section and of the exhibition will be\nan exploration of the creation of the University of Virginia through\noriginal drawings, plans, enlarged photographs and the relevant sources for\nJefferson's inspiration. Here, enlarged and dramatic wall photographs will\nbe used to convey something of the space, scale and ingenuity of this, the\nsupreme statement of Jefferson's imagination.\nVignette 3\nThe planning of cities is an important aspect of Jefferson's creativity,\nparticularly as it shaped Richmond and Washington, but the scale of these\nprojects make them difficult to present visually and clearly. The third\nvignette will focus on the planning of Washington and Jefferson's role in\nthe enterprise as Secretary of State.\nThe Library of Congress is lending the earliest views of Washington,\nand these along with a portrait of L'Enfant and an early map of the city\nwill be the principal original works.\n- 21 -\nThe Pleasures of Nature\n(East Garden Court)\n\"The greatest service which can be rendered any country is, to add a useful\nplant to its culture.\"\nJefferson\nLetters\n\"Mr. Madison and myself\nvisited\nthe principal scenes of General\nBurgoyne's misfortunes.\nWe were more pleased, however, with the\nbotanical objects which continually presented themselves.'\nJefferson to Thomas Mann Randolph\nJune 5, 1791\n\"My old friend Thouin of the National garden at Paris has sent me 700\nspecies of seeds. I suppose they will contain all the fine flowers of\nFrance, and fill all the space we have for them\n\"\nJefferson to Martha Jefferson Randolph\nOctober 18, 1808\n\"I take the liberty of making it known to the botanist by the name of\nJeffersonia, in honour of Thomas Jefferson, Esq., Secretary of State\nI have had no reference to his political character\nMy. business\nwas with his knowledge of natural history. In the various departments\nof this science, but especially in botany and in zoology, the information\nof this gentleman is equalled by that of few persons in the United-States. \"\nBenjamin Smith Barton\nTransactions of the\nAmerican Philosophical Society, 1793\nBotany and natural history were consuming interests of Jefferson\nthroughout his life. The strange flora and fauna of colonial Virginia\nspawned both amateur and serious students among its earliest settlers. The\nsubject was well covered in the early libraries, and Jefferson's own holdings\nwere comprehensive for the period. Clearly it is a subject that should be\npresent as an integral part of the exhibition, and the central position of\nthe East Garden Court will make it the perfect setting for a Jeffersonian\nbotanical garden. Along the arcade, the wall space will be used for\n- 22 -\ncontemporary drawings and plates of botanical and natural history subjects.\nPortraits of the explorer-naturalist von Humbolt and Linneaus; Rubens Peale\nwith the first geranium plant in America; sketches of plants gathered by\nthe Lewis and Clark Expedition; and the Frederick Church painting of\nNatural Bridge, which Jefferson once owned, will provide some moments of\nvisual delight. Houdon's bust of Buffon, whose attacks on American species\nin part provoked the writing of Jefferson's Notes on the State of Virginia,\nwill find a logical setting.\nJefferson is a key figure in the early development of landscape\narchitecture in America. Before the Revolution he was composing plans\non the grand scale for his county seat. His ideas were further developed\nand refined during his five years in Europe, where he took every opportunity\nto study and observe the art. A presentation of Jefferson's interests and\ncontribution in this field, along with historical sources, will be included\nin this section through drawings, engravings and photographs.\nIt is intended that the garden can be entered from four different parts\nof the exhibition and thus be used as a place to rest, where the visitor\nwill be refreshed with a visual change. Garden furniture will be specially\nconstructed from Jefferson's own designs. An aviary in the center will\ncontain his favorite mockingbirds, \"which he cherished with peculiar fond-\nness,\" a diarist of the period recorded. \"It was a constant companion of\nhis solitary and studious hours [in the White House]. Whenever he was\nalone he opened the cage and let the bird fly around the room\n...\nwhen\nhe retired to his chambers it would hop up the stairs after him and while\nhe took his siesta, would sit on his couch and pour forth its melodious\nstrains.\"\n- 23 -\nThe fountain figure in the Garden Court is from the garden of\nVersailles and is appropriately from a garden Jefferson knew quite well\nand often visited with pleasure.\nThe plantings will include not only specimens of Jefferson's own\nfavorite plants and special American varieties that he collected, but\nalso some of the European varieties that he received regularly from\n\"his particular botanical friend[s],\" including the Comtesse de Tesse,\nwhose garden and house outside Paris, designed by Boullée, were a\nbotanical paradise where Jefferson spent much time and contributed\nmany specimens.\n-24-\nINTRODUCTION\n*Houdon\nAB Jefferson 1789\nMuseum of Fine Arts, Boston\n*Peale, R.\nAB Jefferson 1800\nThe White House\n*Sully\nAB\nJefferson 1822\nU.S. Military Academy, West Point\n*Trumbull\nIJ\nSketch for the Declaration of Independence 1786\nYale University Art Gallery\n*Trumbull\nIJ\nDeclaration of Independence 1786-1797\nYale University Art Gallery\n-25-\nI. THE LAND OF PROMISE: BRITISH AMERICA\n1. Virginia\n*Bridges\nTT\nChildren of the Honorable Philip Grymes\nVirginia Historical Society\n*Chamberlain\nTT\nThomas Nelson, Jr.\nVirginia Museum of Fine Arts\n*\nWHA Frenchman's Map of Williamsburg 1782\nCollege of William and Mary facsimile\n*Fry and Jefferson\nMap 1751\nWilton, Richmond\n*Attributed Hesselius\nTT\nMary Randolph\nVirginia Historical Society\n*Attributed Hesselius\nTT\nWilliam Randolph I\nVirginia Historical Society\n*Hoare\nRW\nLord Botetourt\nDuke of Beaufort\n*Hogarth\nRW\nAn Election 1755-1758\nfour engravings\nNational Gallery of Art, Washington\n*Jefferson\nFN\nEarly Drawings for Monticello\nNichols 28 and 29\nMassachusetts Historical Society\n*Jefferson\nFN\nStudy for plan of a rotunda house\n(probably a new Governor's Palace\nHuntington Library facsimile Nichols 420\n*Jefferson\nFN\n\"Plan for an addition to the College of\nWilliam and Mary \" facsimile\nHuntington Library Nichols 421\n*Jefferson\nFN\nMeasured Plan of Governor's Palace,\nWilliamsburg Nichols 422\nMassachusetts Historical Society\nFORD\nis\n-26-\n*Jefferson\nFN Study for remodeling Governor's Palace\nwith temple-form roof and two pediments.\nMassachusetts Historical Society Nichols 425\n*Kneller\nTT William Byrd II\nVirginia Historical Society\n*Kneller\nRW John Locke\nVirginia Museum of Fine Arts\n*Larkin\nRW Sir Francis Bacon\nSir Edmund Bacon\n*Peale, C.W.\nCS Nancy Hallam as Imogen in \"Cymbeline\"\nColonial Williamsburg\n*Peale, C.W.\nCS George Washington as Colonel in the 22nd\nRegiment of Virginia 1772\nWashington and Lee University\n*Pratt, After Correggio WC Madonna of St. Jerome 1764-1766\nNational Gallery of Art, Washington\nRamsay\nRW George III\nBritish Embassy, Washington\nRamsay\nRW Queen Charlotte\nBritish Embassy, Washington\n*Reynolds\nRW Lord Dunmore\nMrs. E. Murray, Edinburgh\n*After Rysbrack\nRW Bust of Sir Isaac Newton bronze\nanonymous\n*Wilson\nRW Governor Fauquier\nCoram Foundation, London\n*Wollaston\nTT John Page, Jr.\nVirginia Museum of Fine Arts on loan from\nthe College of William and Mary\n*Wollaston\nTT Mann and Elizabeth Page\nVirginia Historical Society\n*\nOriginal Gold Medal for Classical Studies\nAwarded by Lord Botetourt\nVirginia Historical Society\n-27-\n*Unknown\nTT\nIsham Randolph\nVirginia Historical Society\n*\nFN Model of Rosewell\nDecorative Arts\nJefferson\nArchitect's Table\nMonticello\nMusic:\nKirkmann\nHarpsichord\nMrs. Charles F. Willis, Washington\nHawkins\nPiano 1801\nSmithsonian Institution\nPreston\nGuitar\nSmithsonian Institution\nJefferson\nMusic Stand\nMonticello\nFurniture:\n*Secretary-Desk, Eventon, Virginia 1760-1780.\nJohn R. Gwathmey, Burlington Plantation, Virginia.\nArmchair, Virginia.\nMary Washington House, Fredericksburg, Virginia.\n*Cellarette, Southern.\nColonial Williamsburg.\n*Blanket Chest, Southern.\nColonial Williamsburg.\n* Pair of Side Chairs, Virginia.\nVirginia Historical Society.\n*Benjamin Waller Chair.\nColonial Williamsburg.\nSERVICE 8. FORD\n-28-\n*Side Chair, Virginia.\nColonial Williamsburg.\nSilver, Secular:\nTwo Beer Cans, London 1753-1754.\nMrs. John F. Brown, Warwick, Rhode Island.\n*Coffee Pot, John Jacob, London 1734-1735.\nanonymous\nCake Basket, London 1752-1753.\nMrs. John F. Brown, Warwick, Rhode Island.\n*Tankard with Peyton Randolph Arms.\nColonial Williamsburg.\n*Salver with Peyton Randolph Arms.\nColonial Williamsburg.\nSilver, Ecclesiastical:\n*Paten, Richard Gurney, London 1751-1752.\nCollege of William and Mary\n*Cup and Cover, Pierre Harache, London 1686.\nCollege of William and Mary.\n*Chalice, Flagon and Alms Basin, Thomas Heming, London 1764-1767.\nBruton Parish Church.\n*Chalice and Paten, London c.1660.\nBruton Parish Church,\n*Basin, London 1739-1740.\nBruton Parish Church.\n*Paten, Benjamin Pyne, London 1691-1692\nBruton Parish Church\nBooks\nBacon\nEssays 1663\nChambers\nTreatise on Civil Architecture 1759\nCicero\nDe officiis 1614\n-29-\nCoke\nFour Parts of the Institutes of the Laws of\nEngland 1639, 1662, 1670, 1648 3 vols.\nDezallier\nd'Argentville,\ntrans. James\nThe Theory and Practice of Gardening 1728\nGibbs\nA Book of Architecture 1728\nHutcheson\nAn Inquiry into the Origin of Our Ideas of Beauty\nand Virtue 1753\nKames\nElements of Criticism 1765 2 vols.\nJefferson\nNotes on the State of Virginia 1785\nKent\nThe Designs of Inigo Jones 1727 vol. 1, p1. 73\nLocke\nLetter on Toleration 1790\nMorris\nSelect Architecture 1755\nNewton\nPhilosophiae Naturalis Principia Mathematica 1760\nOvid\nMetamorphoseon 1751\nPalladio, ed. Leoni\nThe Architecture of A. Palladio 1715 2 vols.\nPlutarch\nLives 1517-1564 13 vols.\nSeneca\nOpera (selection) 1782-1795 10 vols.\nBook of Common Prayer 1662\n2, The Sister Colonies\n*Benbridge\nCharles Cotesworth Pinckney 1773-1774\nNational Portrait Gallery, Washington\n*Copley\nPortrait of Mary Toppen 1763\nYale University Art Gallery\n*Copley\nYoung Lady with a Bird and a Dog 1767\nToledo Museum, Toledo\nFORU\n-30-\n*Hesselius\nCharles Calvert 1761\nBaltimore Museum\n*Peale, C.W.\nCS\nWilliam Buckland 1774-1787\nYale University Art Gallery\n*Peale, C.W.\nCS\nJohn Beale Bordley c. 1770\nMr. Robert L. McNeil, Philadelphia\n*Peale, C.W.\nCS\nColonel John Harleston 1775\nanonymous\n*Pratt\nTT\nMary Jemima Balfour 1773\nVirginia Historical Society\n*Pratt\nTT\nJames Balfour 1773\nVirginia Historical Society\nStuart\nFrancis Malbone and His Brother Saunders 1773-1775\nMrs. Francis Malbone Blodget\n*Theus\nJohn Faucheraud Grimke c1762-1764\nMr. James A. Williams, Savannah\n*Theus\nRalph Izard as a Boy c. 1753\nMr. and Mrs. Ray J. Efird, Atlanta\nDecorative Arts\nFurniture:\n*Highboy and matching Lowboy, Philadelphia.\nMetropolitan Museum of Art, New York.\n*Secretary-Desk, Charleston.\nMuseum of Early Southern Decorative Arts,\n*Secretary-Desk, Massachusetts.\nEssex Institute, Essex, Massachusetts.\nCard Table, New York.\nMetropolitan Museum of Art, New York.\nTripod Table, Philadelphia,\nMuseum of Fine Arts, Boston.\n*Secretary, Massachusetts\nAmerican Antiquarian Society\n-31-\n*Chairs, Philadelphia.\nColonial Williamsburg.\nSilver:\nCoffee Pot, Philip Syng, Philadelphia.\nPhiladelphia Museum.\n*Cake Basket, Myer Myers, New York.\nMetropolitan Museum of Art, New York.\n*Coffee Pot, Paul Revere, Boston 1773.\nWorcester Art Museum.\nSalver, Sugar and Creamer, Paul Revere, Boston.\nMuseum of Fine Arts, Boston.\nFORD\n-32-\nII. THE BRITISH CONNECTION: A SUMMARY VIEW\n1. London\n*Canaletto\nRW\nLondon Seen through an Arch of Westminster\nBridge 1746-1747\nDuke of Northumberland\n*Canaletto\nRW\n\"The Lord Mayor's Procession, The Thames at Westminster\nBridge, 1746\" Paul Mellon\n*Collett\nRW\nTemple Bar from the West C. 1760\nEarl of Jersey, Channel Islands\n*Marlow\nRW View of Whitehall looking North-East\nPaul Mellon\n*Marlow\nRW\nLudgate Hill Looking Towards St. Paul's\nBank of England\nC., 1775\n*Sandby\nRW\nSt. Paul's, Covent Garden, seen through the Arches of\nthe Piazza\nPaul Mellon\n2. Politics\n*Copley\nRW\nDeath of the Earl of Chatham 1779\nNational Gallery of Art, Washington\n*Dance\nRW\nLord North\nNational Portrait Gallery, London\n*Gainsborough\nRW\nPitt C. 1787\nPaul Mellon\n*Nollekens\nRW\nFox 1792\nPaul Mellon\n*Ramsay\nRW\nEarl Temple\nNational Gallery of Victoria, Australia\n*Reynolds\nRW\nBurke 1767-1769\nEarl Fitzwilliam\nWest\nDeath of Wolfe\nRoyal Ontario Museum, Toronto\nZoffany\nRW\nWilkes and His Daughter\nSir Humphrey Sherston-Baker\n33\nDecorative Arts\nFurniture: EH\n* Table, 1755-1760, 65.155.28\nMetropolitan Museum of Art, New York\n* Kneehole Desk, c.1755, 1971.203\nMetropolitan Museum of Art, New York\n* Sofa, c.1740, 51.186.3, Untermeyer catalogue\nMetropolitan Museum of Art, New York\nSide Chair with strapwork splat en suite with above, c.1740\nMetropolitan Museum of Art, New York, 51.186.2, Untermeyer catalogue pl. 97\n* Armchair, Chippendale, ribbon back, c.1750, 57.41.1\nMetropolitan Museum of Art, New York\n* Tea Table, 64.101.1097\nMetropolitan Museum of Art, New York, Untermeyer catalogue fig. 255\nPair of brackets, c.1755, 64.101 1173 1174 fig 354\nMetropolitan Museum of Art, New York\nFire Screen, c.1760, 65.155. 10\nMetropolitan Museum of Art, New York\n*Dressing Table, English\nColonial Williamsburg\n*Pair of upholstered armchair, c.1755\nColonial Williamsburg\nFORD\n*Mirror, Chinoiserie\nNational Gallery of Art, Washington\nBooks\nBurke\nThoughts on the Present Discontents 1770\nFox\nSpeeches\nJournal of the House of Lords with Chatham's Last\nSpeech\n-34-\nWilkes\nNo. 45 of the 'North Briton' 1763\nNorth\nConciliatory Proposals of 1775, to which\nThomas Jefferson replied\n3. Arts and Letters\n*Reynolds\nRW Dr. Charles Burney 1781\nNational Portrait Gallery, London\n*Reynolds\nRW Sir William Chambers 1780\nRoyal Academy, London\nReynolds\nRW Dr. Johnson 1770\nMrs. Donald Hyde, New York\n*Reynolds\nRW The \"Out of Town\" Party 1759\nBristol Art Gallery\n*Reynolds\nRW James Macpherson 1772\nLord Egremont\n*Zoffany\nRW David Garrick as Lord Chalkstone, Ellis Ackman\nas Bowman. and Astley Bransby as Aesop in\n\"Lethe\" C. 1766\nBirmingham Museum and Art Gallery\nBooks\nMacpherson (\"Ossian\") The Poems of Ossian 1784-1785\nBurney\nA General History of Music 1766-1789 4 vols.\nThe Present State of Music in France and Italy 1771\nJohnson\nDictionary 1775 2 vols.\nKent\nInigo Jones, open at Chiswick\nGaelic Bible sent by Charles Macpherson to Jefferson\nAdam, Robert and James The Works in Architecture of Robert and James Adam\nEsquires vol. 1, 1778\nChambers\nDesigns of Chinese Buildings. 1757\n-35-\n4. Society\n*Hogarth\nRW\nThe March of the Guards 1746\nCoram Foundation, London\n*Lambert\nRW\nChiswick, View from the South-West 1742\nDuke of Devonshire\n*de Loutherbourg\nRW\nA Midsummer's Afternocn with a Methodist\nPreacher 1777\nNational Gallery of Canada, Ottawa\nde Loutherbourg\nRW\nWarley Camp: The Mock Attack 1779\nThe Royal Collection, London\n*de Loutherbourg\nRW\nCoalbrookdale by Night\nScience Museum, London\nStubbs\nRW\nMr. and Mrs. Wilson of Hull with Their Hunt\nServants c. 1757\nPaul Mellon\n*Wheatley\nRW\nThe Browne Family c.1778\nPaul Mellon\n*Zoffany\nRW\nThe Dutton Family C. 1765\nHonorable Peter Samuel\n*Zoffany\nRW\nThe Sharp Family on a Yacht on the Thames\nMiss Olive Lloyd-Baker\n1779-1781\n*Zoffany\nRW\nJohn Peyto, 14th Baron Willoughby de Broke\nand Louisa His Wife 1771-1772\nLord Willoughby de Broke, London\nZoffany\nRW\nQueen Charlotte and Two Princes c.1773\nRoyal Collection, London\nFORD\n36\nDecorative Arts (3 and 4)\nFurniture: EH\n* Sideboard c.1775, 64.101.893, Untermeyer catalogue pl. 30\nMetropolitan Museum of Art, New York\nPair of Urns c.1775, 64.101.894\nMetropolitan Museum of Art, New York\n* Pedestals c.1775, 64.101.895\nMetropolitan Museum of Art, New York\nSide Table c.1770, 11.117.5\nMetropolitan Museum of Art, New York\n* Urn, c.1775, 11.117.8\nMetropolitan Museum of Art, New York\n* Card Table, 1770, 11.117.5\nMetropolitan Museum of Art, New York\n*\nPair of Candle Stands, c.1765, 64.101. 1056 a,b; 1057 a,b; fig. 210\nMetropolitan Museum of Art, New York\nSilver: RW\nPair of Candlesticks, John Carter after a design by Adam, London 1767\nTemple Newsam House, Leeds\nPair of Candelabra, John Carter after a design by Adam, London 1774\nLloyd's of London\nCup and Cover, Louisa Courtauld and George Cowles, London 1771\nVictoria and Albert Museum, London\nSlaver, Frederick Kandler, London 1775\nVictoria and Albert Museum, London\nWine Cooler, Frederick Kandler, London 1775\nVictoria and Albert Museum, London\nJug, Boulton and Fothergill, Birmingham 1776\nMuseum of Fine Arts, Boston\nPair of Candlesticks, Boulton and Fothergill, Birmingham 1774\nMuseum of Fine Arts, Boston\nPair of Sauce Tureens, Boulton and Fothergill, Birmingham 1776\nBirmingham Assay Office\nTea Urn, Thomas Heming, London 1777\nCleveland Museum of Art\n-37-\nIII. \"THE PROGRESS OF THE HUMAN MIND:\" SCIENCE, EXPLORATION AND ANTIQUITY\n1. Science\n*Blanchet\nR/R Fathers Lesueur and Jacquier c.1772\nMusee des Beaux-Arts, Nantes\n*Ceracchi\nRW Medallion of Priestley\nWedgwood Museum\n*Colson\nR/R Portrait of Balthazar Sage 1777\nMusee des Beaux-Arts, Dijon\n*David\nR/R Portrait of M. and Mme Lavoisier 1788\nRockefeller University, New York\nDavid\nR/R Alphonse Leroy 1783\nMusee Fabre, Montpellier\nDesbordes\nR/R An Inoculation C. 1822\nMusee de Douai, Douai\n*Ellis after Rooker\nRW\nThe Cast Iron Bridge near Coalbrookdale 1782\nIronbridge Gorge Museum Trust engraving\n*Houdon\nHHA Robert Fulton C. 1803\nMrs. Sarah Hunter Kelly, New York\n*Ibbetson\nRW The Ascent of Lunardi's Balloon from St. George's\nField 1788-1790\nLondon Museum\n*Lepicie\nR/R\nThe Astronomer\nGulbenkian Museum, Lisbon\n*Peale, C.W.\nCS\nExhuming of the First American Mastodon 1806\nPeale Museum, Baltimore\n*Peale, C.W.\nCS Benjamin Rush 1783\nMrs. T. Charlton Henry, Chestnut Hill,\nPennsylvania\nis\nFORD\nand\n*Peale, R.\nCS\nPierre Samuel du Pont de Nemours\nanonymous\n-38-\n*Rooker\nRW\nAn Electrical Experiment in the Pantheon\n1778\nMr. Appleby, Channel Islands drawing\nWright\nRW\nExperiment with an Air Pump 1768\nTate Gallery, London\n*Zoffany\nRW William Hunter Lecturing on Anatomy\nRoyal College of Physicians, London\nUnknown\nR/R L'Abbe Buffon et Daubenton recherchant les\nanimaux spermotiques from L'Histoire Generale\ndes animaux drawing\nBibliotheque Nationale\nScientific Instruments\nBowdoin Orrery\nHarvard University\nAir Pump\nMicroscope\nLeyden Jars\nJefferson's Theodolite\nMonticello\nJefferson's Telescope\nMonticello\nBooks\nLavoisier\nTraites Elementaires de Chimie 1789\nLibrary of Congress\nJenner\nAn Inquiry into the Cause and Effect of the\nVariolae Vaccinae 1800 2nd edition\nLibrary of Congress\nHunter\nAnatomia Uteri Humani Gravidi Tabulis Illustrata 1774\nLibrary of Congress\nRittenhouse\nOration Delivered February 24, 1775 before the\nAmerican Philosophical Society\nLibrary of Congress\nPriestley\nExperiments and Observations on Different Kinds of\nAir 1774-1777\nLibrary of Congress\nde Vaugondy\nUranographie ou Description du Ciel en deux Hemispheres\n1764\nVolumes of Encyclopedie open at plates showing industrial and technological\nprocesses.\n-39-\n2. Exploration\n*Hodges\nRW Matavai Bay, Tahiti 1776\nPaul Mellon\n*Monsiau\nR/R Louis XVI Giving La Perouse His Instructions\non Going Round the World 1817 Versailles\n*Parry\nRW\nSir Joseph Banks, Omai and Dr. Solander\nMr and Mrs. P.A. Tritton, Parham\n*Saint-Memin\nIndian Chief of the Little Osages drawing\nNew-York Historical Society\n*Saint-Memin\nPortrait of Cachasunghia, Osage Warrior drawing\nNew-York Historical Society\n*Saint-Memin\nPortrait of a Chief of the Little Osages drawing\nNew-York Historical Society\n*Saint-Memin\nPortrait of an Osage Warrior drawing\nNew-York Historical Society\n*Saint-Memin\nAB Jefferson\nWorcester Art Museum\n*Stubbs\nRW\nGreen Monkey 1774\nanonymous\n*Stubbs\nRW Rhinoceros\nRoyal College of Surgeons, London\nPair of Globes\nMr. Arthur Davidson, London.\nJefferson's Surveying Instruments\nMonticello\nChief White Hair Medal\nLewis and Clark Material\nBooks\nLedyard\nA Journal of Captain Cook's Last Voyage 1783\nLibrary of Congress\nLewis and Clark\nHistory of the Expedition\nto the Sources of the\nMissouri 1814 Library of Congress\nVon Humboldt\nVoyage de Humboldt et Bonpland 1803-1813\nFORD\nCook and King\nA Voyage to the Pacific Ocean 1784\nLibrary of Congress\n-40-\n3. Antiquity\n*Burney\nRW\nThe Antique School at Old Somerset House\nRoyal Academy, London drawing 1779\n*Clerisseau\nMcC Design for the Ruin Room at Santa Trinita dei\nMonti c. 1765 drawing\nFitzwilliam Museum, Cambridge\nClérisseau\nMcC Arch of St. Remy drawing\nVictoria and Albert Museum, London\n*Cozens\nRW The Two Great Temples at Paestum after 1782\nThe Three Great Temples at Paestum after 1782\nOldham Museum and Art Gallery, England\n2 drawings\n*David\nR/R The Lictors Returning to Brutus the Bodies\nof His Sons 1787\nWadsworth Atheneum, Hartford\n*Hadfield\nWHA Reconstructed Elevation of the Temple of\nFortune, Palestrina 1791\nRoyal Institute of British Architects,\nLondon\ndrawing\n*Hadfield\nWHA Remains of the Interior of the Temple\nof Fortune at Palestrina 1791\nRoyal Institute of British Architects, London\n-41-\n*Hadfield\nWHA Interior Room on the Third Platform of the\nTemple of Fortune, Palestrina 1791\nRoyal Institute of British Architects, London\n*Hadfield\nWHA The Remains of the Roof of One of the\nArcades of the Temple of Fortune on the\nFourth Platform, Palestrina 1791\nRoyal Institute of British Architects\nKauffmann\nRW\nDr. John Morgan 1764\nWashington County Historical Society\nMengs\nRW\nWinckelmann C. 1774\nMetropolitan Museum of Art, New York\n*Piranesi\nAR A Large Gallery of Statues etching\nanonymous\n*Piranesi\nAR View of the Ruins of Paestum, two views\npls. 3 and 9,\nFrom Differentes vues de quelques restes\nde trois grands edifices qui subsistent\nencore dans l'ancienne ville de Pesto\nNational Gallery of Art, Washington\nPiranesi\nA Capriccio of Buildings in a Classical\nSeaport c.1755 drawing\nPhilip Hofer, Cambridge, Massachusetts\n7. FORD\n-42-\n*Ramsay\nRW\nRobert Wood C. 1753\nNational Portrait Gallery, London\n*Reynolds\nRW\nSir William Hamilton 1777\nNational Portrait Gallery, London\n*Robert\nR/R The Discovery of the Laocoon 1773\nVirginia Museum of Fine Arts\n*Zoffany\nRW\nCharles Towneley in His Gallery 1782\nBurnley Art Gallery, England\nAntiquities\nBronze Askos\nNimes\nSilver Askos\nMonticello\nWooden Model of Askos\nMonticello\nOriginals/copies of Sculpture Admired by Jefferson\nFarnese Hercules\nNational Museum, Naples\nApollo Belvedere\nVatican\nVenus de 'Medici\nUffizi, Florence\nMessenger Pulling out a Thorn (Spinario)\nCapitoline Museum, Rome\nHermes\nVatican\nAriadne\nVatican\nBooks\nAdam\nRuins of the Palace of the Emperor Diocletian at\nSpalatro 1764\nLibrary of Congress\n-43-\nCaylus\nRecueil d'antiquités Egyptiennes, Etrusques, Grecques\net Romaines 1752-1767\nLibrary of Congress\nClerisseau\nAntiquites de la France 1778\nLibrary of Congress\nDesgodets\nEdifices antiques de Rome 1779\nLibrary of Congress\nD'Hancarville\nAntiquites Etrusques, Grecques et Remaines 1785-\n1788\nLibrary of Congress\nPerrier\nTwelve plates of classical sculpture from\nSegmenta nobilium signorum e statuaru 1638-1653\nLibrary of Congress\nStuart and Revett\nThe Antiquities of Athens vol. 1. - 1762\nLibrary of Congress\nWinckelmann\nHistory of Ancient Art\nReflections on the Influence of Greek and\nAncient Sculpture\nWood\nRuins of Balbec 1757\nLibrary of Congress\nWood\nRuins of Palmyra 1753\nLibrary of Congress\nFORD\n-44-\nIV. \"OUR REVOLUTION\"\n*Boze\nR/R Lafayette\nMassachusetts Historical Society\n*Copley\nRW Lord Cornwallis before 1793\nGuildhall Art Gallery, London\n*Elliott\nRW \"Bonhomme Richard\" VS. H.M.S. \"Serapis\"\nNaval Academy, Annapolis\nGainsborough\nRW Admiral Earl Howe C. 1765\nEarl Howe\n*Houdon\nHHA John Paul Jones 1781\nNaval Academy, Annapolis\n*Latrobe\nBS Headless Statue of Lord Botetourt at Williams-\nburg drawing\nMaryland Historical Society\n*Peale, C.W.\nCS Marquis de Chastellux 1782\nIndependence Hall, Philadelphia\n*Reynolds\nRW General Sir Banastre Tarleton 1782\nNational Gallery, London\n*Trumbull\nIJ Surrender of General Burgoyne at Saratogac. 1816\nYale University Art Gallery\n*Trumbull\nIJ George Washington Resigning His Commission\nYale University Art Gallery c.1817-1822\n*Trumbull\nIJ The Surrender of Lord Cornwallis at Yorktown\nYale University Art Gallery before 1797\n*Trumbull\nIJ Death of General Mercer at the Battle of\nPrinceton 1786-1787\nYale University Art Gallery\n*Van Ysendich\nR/R Publication of the Treaty of 1783 in Paris\nVersailles\n-45-\nWille\nR/R Le patriotisme français ou le depart 1785\nMusee Blerancourt\nWille\nR/R La double récompense ou la retour 1781\nMusee Blerancourt\n*Wright\nIJ\nWashington\nMassachusetts Historical Society\nSet of Revolutionary Medals struck in France\nBooks\nJefferson\nA Summary View of the Rights of British America\nLibrary of Congress\n1774\nTarleton\nHistory of the Campaigns of 1780 and 1781 1787\nLibrary of Congress\nFORD\n:\n-46-\nV. EUROPE: THE VAUNTED SCENE\n1. Paris\nViews of the City and Neighboring Areas\nBelanger\ndeM Plan de la nouvelle Amerique a construire\nBibliothèque Nationale drawing\nBernard after Franque\nElevation of the Chapel and Buildings of\nthe Abbey of Pentemont c.1769 engraving\nBibliothèque Nationale\n*Attributed Carmontelle\nFN\nView of the Column House and the Temple of\nPan, Desert de Monville drawing\nNationalmuseum, Stockholm\nChalgrin\ndeM Hôtel de Langeac, Elevation of the Garden\nFront drawing\nBibliotheque Nationale\nLallemand\ndeM Hotel de Bruncy drawing\nBibliothèque Nationale\nLedoux\nFN\nElevation of Louveciennes engraving\nBibliothèque Nationale\nLespinasse\ndeM Place Louis XV 1778 drawing\nMusée Carnavalet, Paris\nLespinasse\nHR\nPanoramic View of Paris from the Belvedere\nof M. Fournel Looking North 1786 drawing\nMusee Carnavalet, Paris\nLespinasse\nHR\nPanoramic View of Paris from the Belvedere\nof M. Fournel Looking South 1786 drawing\nMusee Carnavalet, Paris\nLespinasse\nHR\nChateau de Madrid c. 1780\nMusee Carnavalet, Paris\n-47-\nde Machy\nR/R Place Louis XV with the Balloon Ascent of\nM.M. Robert and Hullin 1784 drawing\nMusee Carnavalet, Paris\nde Machy\nR/R Auction of Paintings c.1780\nMusee Carnavalet, , Paris\nde Monchy after Lantara\nHR\nMont Calvaire 1766 engraving\nBibliothèque Nationale\nMarechal\nFN Halle au Blé drawing\nBibliotheque Nationale\nMarechal\ndeM Hôtel Guimard drawing\nBibliothèque Nationale\nMartinet\ndeM Plan of Hotel de Langeac and Garden\nSecond Floor of Hotel de Langeac 2 engravings\nFrom Beguillet, Description historique de\nParis, Grille de Chaillot 1779\nBibliotheque Nationale\nMeunier\nHR\nProcession in Front of Sainte-Genevieve 1788\nMusee Carnavalet, Paris drawing\nMeunier\nHR Le Guichet du Louvre c.17 85 drawing\nMusee Carnavalet, Paris\nMeunier\nHR Le Cirque du Palais-Royal c.1788 drawing\nMusee Carnavalet, Paris\nNee after Moreau\nHR View of the Gardens at Bagatelle engraving\nl'aine\nBibliotheque Nationale\nPalaiseau\ndeM Barrière de l'Etoile drawing\nBibliotheque Nationale\nRittmann and Junie\nCul-de-Sac Taitbout engraving\nFrom Atlas des plans de la censive de\nl'archeveche dans Paris 1786\nBibliothèque Nationale\nRobert\nR/R Demolition of Houses on the Notre Dame Bridge\nMusee Carnavalet, Paris 1786\n-48-\nRobert\nR/R Demolition of Houses on the Exchange Bridge\nMusée Carnavalet, Paris 1788\n*Robert\nR/R Terrace of the Chateau de Marly\nWilliam Rockhill Nelson Gallery, Kansas City\nRobert\nR/R Place Louis XV drawing\nMusée Carnavalet, Paris\nTardieu and Aubert\nMap of Paris showing the new customs barriers\nBibliothèque Nationale\n1788\n*Trumbull\nHR Paris as Seen from the House of the Abbe Chalut\nMrs. Norman Holmes Pearson drawing 1786\n*Trumbull\nHR Place Louis XV 1786 drawing\nMrs. Norman Holmes Pearson\nUnknown, after Chalgrin\nSt, Philippe du Roule 2 engravings\nMusee Carnavalet, Paris\nUnknown\ndeM Building of the Hôtel de Salm 1786\nMusee Carnavalet, Paris\nUnknown\nHR\nMain Façade of the Château de Bagatelle\nBibliothèque Nationale engraving\nUnknown\nHR\nPhilosopher's Grotto at Bagatelle engraving\nBibliotheque Nationale\nUnknown\nHR Machine de Marly-le-Roi engraving\nBibliotheque Nationale\nFN Model of the Hôtel de Salm (river side)\nPolitical and Social Life\n*Collet\nBust of Comte de Montmorin\nVersailles\n*Duplessis\nR/R\nLouis XVI\nVersailles\n*After Fragonard\nR/R Allegory to the Genius of Franklin 1778\nNational Gallery of Art, Washington engraving\n*Houdon\nHHA\nCagliostro 1786\nNational Gallery of Art, Washington\n*Houdon\nHHA Benjamin Franklin c.1778\nMetrcpolitan Museum of Art, New York\nLundberg\nR/R Vergennes\nMusee Blerancourt\n-49-\nOllivier\nR/R The à l'anglaise at the Prince de Conti's with\nMozart Playing 1766\nLouvre\nQuenedy and Chretien\nPhysiognotrace Portrait of Gouverneur Morris\n*Trumbull\nPortrait of Angelica Schuyler Church, Her Son\nPhilip, and a Servant\nMrs. Amy Johnson, Farmington, Connecticut\nVallière\nR/R Madame d'Houdetot\nM. Louis de Crèvecoeur\n*Vigee-Lebrun\nR/R Duchess of Orleans 1789\nVersailles\nVigee-Lebrun\nR/R Calonne 1784\nThe Royal Collection, London\nVigee-Lebrun\nR/R Portrait of Marie-Antoinette 1778\nPrivate Collection, New York\nUnknown\nR/R Les Plaisirs de Chaville drawing\nMadame Michel de Larminat, Château de Beaumont,\nChartre-sur-le-Loir\nUnknown\nR/R Madame de Tott Painting the Portrait of\nMadame de Tesse miniature\nComte de Pusy-Lafayette, Paris\nArtistic and Intellectual Life\nBoilly\nR/R L'Atelier de Houdon 1804\nThomas Henry Museum, Cherbourg\nCathelin after Rolineau R/R Nicolo Piccini engraving\nBibliothèque Nationale\n*David\nR/R Pierre des Maisons 1782\nAlbright-Knox Art Gallery, Buffalo\nDuplessis\nR/R Vien 1785\nLouvre\nFORD\nis\n-50-\nDuplessis\nR/R Comte d'Angivillers c.1779\nJohn Sheffield, England\n*Gerard\nR/R Ledoux and His Family\nBaltimore Museum\n* Houdon\nHHA Gluck c.1775\nMichael Hall, New York\nHoudon\nHHA Condorcet c.1785\nLouvre\nLenoir\nR/R Madame Vestris as Elektra\nComedie Française\nNattier\nR/R Beaumarchais 1755\nComte de Beaumarchais\n* Quenedy and Chretien\nAB\nPhysiognotrace Portrait of Jefferson 1789\nYale University Art Gallery engraving\nRoslin\nR/R Marmontel 1767\nLouvre\nVestier\nR/R Doyen 1787\nLouvre\n*Vigee-Lebrun\nR/R Gretry 1785\nVersailles\nSalons of 1785, 1787 and 1789\nPainting - 1785\nDavid\nR/R Belisaire\nLouvre\n*Duplessis\nR/R M. de Chabanon\nOrléans\n*Labille-Guiard\nR/R Charles A. Van Loo\nVersailles\nLepicie\nR/R Interieur de ferme\nLouvre\nde Parme\nR/R L'Etude repand des fleurs\nCaen\n-51-\nRobert\nR/R Portique d'Octavie à Rome\nLouvre on loan to French Embassy, London\nRobert\nR/R Ancien portique de l'Empereur Marc-Aurele\nLouvre on loan to French Embassy, London\nTaillasson\nR/R Antolion\nMusee Fabre, Montpellier\n*Taillasson\nR/R Mezena drawing\nMusee des Beaux-Arts, Nancy\n*Vigée-Lebrun\nR/R Bacchante assise\nCalifornia Palace of the Legion of Honor,\nSan Francisco\nPainting - 1787\nHue\nR/R Cascatelles de Tivoli\nMusee des Beaux-Arts, Tours\n*Labille-Guiard\nR/R Madame Adelaide de France (version)\nPhoenix Art Museum\nLespinasse\nR/R Vue du port au ble drawing\nMusee Carnavalet, Paris\nLespinasse\nR/R Vue du port Saint Paul drawing\nMusee Carnavalet, Paris\nde Machy\nR/R Demolition de l'Eglise des Saints Innocents\nMusee Carnavalet, Paris\nde Machy\nR/R Intérieur de l'Eglise des Saints Innocents\nMusee Carnavalet, Paris\n*Taillasson\nR/R Electre\nRobert Rosenblum, New York\nValenciennes\nR/R Ciceron découvrant le tombeau d'Archimede\nLouvre\nValenciennes\nR/R L'Ancienne cité d'Agrigente\nLouvre\n*Vestier\nR/R Portrait of the Governor of Guadeloupe\nanonymous\nFORD\nis\n-52-\n*Vigee-Lebrun\nR/R The Marquise de Peze and the Marquise\nde Rouget with Her Two Children\nNational Gallery of Art, Washington\nPainting 1789\nLe Barbier\nR/R Coriolan drawing\nMusee Tavet-Delacour, - Pontoise\nGauffier\nR/R Jacob venant trouver les filles de Laban\nLouvre\n*Hue\nR/R Naval Battle off Granada\nVersailles\nMonsiau\nR/R Mort de Cléopâtre drawing\nMusée Rolin, Autun\n*Mosnier\nR/R Lagrence l'aine\nVersailles\nRegnault\nR/R Le Deluge\nLouvre\nVallayer-Coster\nR/R Nature morte aux animaux\nLa Baronne de St. Palais, Paris\n*Voiriot\nR/R Sue\nVersailles\nWailly\nR/R Engraving of Salonof 1789\nMusee Carnavalet, Paris\nWailly\nR/R Chaire de Saint-Sulpice drawing\nCooper-Hewitt Museum, New York\nSculpture - 1785\nCaffieri\nCorneille\nR/R\nComedie Française\nHoudon\nHHA La Rive as Brutus\nComedie Française\nPajou\nR/R Buste de Claude-Edme Labille\nLouvre\n-53-\nSculpture - 1787\nCaffieri\nR/R\nBuste de J. Baptiste Rousseau\nComedie Française\nDeseine\nR/R\nMucius Scaevola\nLouvre\nHoudon\nHHA\nLafayette plaster\nBoston Athenaeum\nHoudon\nHHA\nLife Mask of Lafayette\nCornell University, Ithaca, New York\n*Houdon\nHHA\nGeorge Washington\nMrs. Sarah Hunter Kelly, New York\nSculpture - 1789\nBoquet\nR/R Archimède\nLouvre\nGiraud\nR/R L'Achille\nAix-en-Provence, Musee Granet\n*Pajou\nR/R\nMadame Wailly\nMetropolitan Museum of Art, New York\nPaintings and Sculpture Particularly Admired by Jefferson\n*David\nR/R Death of Socrates 1787\nMetropolitan Museum of Art, New York\nDrouais\nR/R Marius at Minturnae 1787\nLouvre\nHoudon\nHHA Diana 1776 plaster\nSchlossmuseum, Gotha\nSlodtz\nDiana and Endymion\nRobert\nR/R Maison Carree, the Arenas and the Tower\nat Nimes\nLouvre\nFOND\nVan der Werff\nExample of his painting\nAlte Pinakothek, Munich\n-54-\nFrench Decorative Arts FW\nSide Table, Weisweiller.\nMuseum of Fine Arts, Boston.\nTwo Armchairs, Sene.\nMuseum of Fine Arts, Boston.\nFire Screen, Sene.\nMuseum of Fine Arts, Boston.\nCommode, Schwerdfeger.\nMuseum of Fine Arts, Boston.\nPair of Firedogs.\nMuseum of Fine Arts, Boston.\nPair of Sèvres Vases.\nMuseum of Fine Arts, Boston.\n*Tapestry, Beauvais.\nMr. Michael Menzies.\n*Two Settees.\nMr. Michael Menzies.\n*Regulateur.\nMr. Michael Menzies.\n*Bergere.\nMr. Michael Menzies.\n*Arm Chair from President's House, Philadelphia.\nThe White House\n*Arm Chair given by Lafayette.\nThe White House.\n*Bergere.\nMr. Philip Bonsal, Washington, D.C.\n*Original Tapestry frame.\nMr. Philip Bonsal, Washington, D.C.\nPair of Chairs, from a suite to be presented to Washington.\nElysee Palace, Paris.\nCandelabrum designed for presentation to Washington.\nLouvre.\nPanels from the Hotel de Montmorency, Ledoux.\nMuseum of Fine Arts, Boston.\nChair, Louis XVI, Monticello\nSèvres Biscuit figures, Monticello\n-55-\nFrench Revolution\n*David\nR/R Serment du Jeu de Paume 1789\nVersailles drawing\nHoriet\nR/R Taking of the Bastille 1789\nMusee Carnavalet\n*Houdon\nHHA Lafayette 1790\nVersailles\nLallemand\nR/R Charge of the Prince de Lambesc 1789\nMusee Carnavalet, Paris\n*Moreau\nR/R Meeting of the Etats Generaux 1789\nVersailles\ndrawing\n*Moreau\nR/R Meeting of the Assemblee des Notables 1787\nVersailles\ndrawing\nRobert\nR/R Demolition of the Bastille 1789\nMusee Carnavalet, Paris\nVestier\nR/R Chevalier de Latude 1789\nMusee Carnavalet, Paris\n2. Jefferson, Tourist\n*Beaumont\nRW Heidelberg drawing\nPaul Mellon\nBellotto\nRW\nTurin with the Palazzo Reale 1745\nMr. and Mrs. John Koch, New York\nBirch after Cosway and\nRW\nA View of Mr. Cosway's Breakfast-Room, - Pall Mall\nHodges\nNew York Public Library\n1789 engraving\n*Brown\nAB\nThomas Jefferson 1786\nMr. Charles Francis Adams, Massachusetts\n*Brown\nJohn Adams 1788\nBoston Athenaeum\n*Brown\nBulfinch\nFogg Art Museum\n-56-\n*Clerisseau\nMcC Façade of the Château de Borely drawing\nBorely Museum, Marseille\nCosway, R.\nRW Mrs. Cosway drawing\nLodi, Italy\nCosway, R.\nRW Self-Portrait drawing\nLodi, Italy\n*Desprez\nRW Somerset House, St. Paul's and Blackfriar's\nBridge\ndrawing\nPaul Mellon\nDezauche\nMap of Canal de Languedoc 1787\nLibrary of Congress\n*Earl\nAbigail Adams 1785\nNew York State Historical Association on\nloan to the White House\nHaldenwang after\nFront View of Hope's House, Haarlem 1807\nSchouten\nPrentenkabinet, Rijksmuseum, Amsterdam\n* Houdon\nHHA Joel Barlow 1803\nPennsylvania Academy of Fine Arts,\nPhiladelphia\n*Laborde, Guettard and\nVoyage pittoresque de la France 1784-1802\nBeguillet\nBoston Athenaeum vols. 11 and 12\n*La Fargue\nCourt Pond at the Hague 1762\nGemeentemuseum, The Hague\n*Marlow\nRW The Amphitheatre at Nimes drawing\nPaul Mellon\na\n*Marlow\nRW\nNimes from Tour Magne drawing\nPaul Mellon\n*Nickolls\nRW\nPope's Villa, Twickenham c.1726\nPaul Mellon\n*Ouwater\nRW View of Westerkerk, Amsterdam, 1778\nNational Gallery of Canada, Ottawa\n*Peale, R.\nCS\nWilliam Short with the Temple of Paestum\nin the Background 1806\nCollege of William and Mary\n-57-\n*Piper\nWHA Smeaton's Engine at Kew\nView of Painshill\nPlan of the Grotto at Painshill\n3 drawings 1776\nRoyal Academy, Stockholm\n*Rigaud\nRW Chiswick Villá and Gardens from the South East\nDuke of Devonshire\n1734\nRobert\nR/R The Interior of the Temple of Diana at Nimes 1787\nLouvre\nRobert\nR/R The Pont du Gard 1787\nLouvre\nRobert\nR/R Arc de Triomphe at Orange 1787\nLouvre\n*Rooker\nRW\nGate at Blenheim drawing 1787\nPaul Mellon\n*Rooker\nRW\nMerton College, Oxford 1772\nPaul Mellon\nRowlandson\nRW The Fish Market at Amsterdam drawing c.1794\nBolton Museum and Art Gallery\n11\nRowlandson\nRW\nMain Square at Dusseldorf drawing 1791\nStadtgeschichtiches Museum, Dusseldorf\nRowlandson\nRW Vauxhall Gardens c.1784 drawing\nPaul Mellon\n*Sandby\nRW The North Terrace, Windsor Castle, Looking West\nPaul Mellon\nc.1785\n*Smith\nRW\nMaria Cosway and Her Daughter drawing\nPaul Mellon\nTrumbull\nAB\nJefferson 1788\nLodi, Italy\n*Trumbull\nIJ\nSelf-Portrait 1777\nMuseum of Fine Arts, Boston\nVernet\nR/R Premiere vue de Bordeaux 1758\nMusée de la Marine, Paris\n-58-\nVernet\nR/R Interieur du port de Marseille 1754\nMusee de la Marine, Paris\n*Wilson\nRW\nKew Gardens with the Pagoda and Bridge 1762\nPaul Mellon\n*Wilson\nRW Dover c. 1747\nNational Museum of Wales, Cardiff\n*Unknown\nRW\nMaria Cosway\nMr. and Mrs. Richardson Dilworth, Princeton\nUnknown\nView of the Garden of Chanteloup drawing\nBibliotheque Nationale\nBooks\nWhately\nObservations on Modern Gardening\n-59-\nVI. THE JEFFERSONIAN CREATION\n1. Decorative Arts\nChantrot\nClock Designed by Jefferson\nanonymous\n*Jefferson\nSketch for a Dumbwaiter\nMassachusetts Historical Society\n*Jefferson\nDrawing for the Urn\nMassachusetts Historical Society\n*Jefferson\nDrawing for Silver Goblets\nMassachusetts Historical Society\n*Jefferson\nDrawings for Curtains\nMassachusetts Historical Society\nWindow arrangement based on Jefferson design\n*Jefferson\nStudy for Parquet Floor\nMassachusetts Historical Society\n*Jefferson\nSketch for Combined Writing Desk and Dressing\nTable\nMassachusetts Historical Society\nJefferson\nSketch for a Candlestick facsimile\nLibrary of Congress\nPair of Sheffield Plate Candlesticks\nJefferson\nSketch for an Obelisk Clock\nCollege of William and Mary\nOdiot - Jefferson\nSilver Urn\nMonticello\nRandolph, C.J.\nDrawing of a Table and Chair from Poplar Forest\nMonticello\nPair of Chippendale Chairs\nMonticello\nFAND\nCampeachy Chair\nMonticello\nDumbwaiter\nMiss Ellen Coolidge Burke, Arlington, Virginia\n-60-\n2. Domestic Architecture\nBélanger\ndeM Bagatelle: Elevation from the Street;\nElevation Seen from the Courtyard; Cross\nSection from East to West\n3 drawings\nBibliotheque Nationale\n*\nGibbs\nBook of Architecture 1728\nRules for Drawing the Several Parts of\nArchitecture 1738\nPlates\n* Hallet\nFN\nWest Elevation of the Capitol at Washington\nLibrary of Congress\ndrawing\n* Jefferson\nDrawings of Bremo, Poplar Forest, Barboursville\nand Farmington\n* Jefferson\nDrawings of Monticello to show evolution of the\nhouse\nJefferson\nFN\nDrawings\nSee Attached List\n* Kent\nChiswick Villa from the South East c. 1730\nDuke of Devonshire\ndrawing\n* Kent\nThe Designs of Inigo Jones 1727 vol. 2 pl. 17\nJuxtaposed to Cornelia Jefferson Randolph's\nfloor plan for Poplar Forest\n*Latrobe\nBS\nView of Richmond from the South Side of the\nJames River showing the Capitol drawing\nMaryland Historical Society\n*Latrobe\nBS\nCity of Richmond, River at Left, Capitol at Right\nCenter drawing\nMaryland Historical Society\n*Latrobe\nBS\nTwo Drawings of a Tobacco Plant and the Capital\nDerived from It.\nLibrary of Congress\n*Latrobe\nBS\n\"View of the Capitol from my shop\" drawing\nMaryland Historical Society\n-61-\n*Latrobe\nBS U.S. Capitol in Course of Construction drawing\nMaryland Historical Society\n*Latrobe\nBS Principal Story of the U.S. Capitol 1806\nLibrary of Congress\n*Latrobe\nBS Ceiling of the House of Representatives 1805\nLibrary of Congress drawing\n*Latrobe\nBS Cross Section of the Library of Congress\nLibrary of Congress drawing\n*Latrobe\nBS Cross Section of the House of Representatives\nLibrary of Congress drawing\n*Latrobe\nBS Sketch for a Classical Figure drawing\nLibrary of Congress\n*Latrobe\nBS South Elevation of the President's House 1807\nLibrary of Congress drawing\n*Latrobe\nBS East Front of the President's House 1807\nLibrary of Congress drawing\n*Latrobe\nAB Thomas Jefferson e . 1799 drawing\nMaryland Historical Society\nMeunier\nHotel a de Salm drawing\nBibliotheque Nationale\n*Mills\nFN West Elevation of Monticello 1803 drawing\nMassachusetts Historical Society\n*Morris\nSelect Architecture 1755 pl. 43 \"Elevation for a\nGarden House\" Juxtaposed to Mills' drawing of\nMonticello facsimile\n*Morris\nSelect Architecture 1755 pl. 2 Juxtaposed to\nJefferson's plan of Monticello as originally\nbuilt Nichols 49 facsimile\n*Morris\nSelect Architecture 1755 pl. 37 \"Design for a\nRetreat\" Elevation and Plans Juxtaposed to\nJefferson's first study of Monticello facsimile\n*Morris\nSelect Architecture 1755 pl. 30 \"Plans for\na Hilltop House.\" Juxtaposed to Cornelia\nJefferson Randolph's floor plan for Poplar\nForest facsimile\n-62-\n* Morris\nSelect Architecture 1755 pl. 3. Juxtaposed\nto Jefferson's early study of Monticello\nNichols 26 facsimile\n* Palladio\nVilla Rotonda engraving\nJuxtaposed to Monticello\n* Palladio\nEnlarged plate of orders juxtaposed to Jefferson's\ndrawings of orders\n*Randolph, Cornelia J.\nFN\nPoplar Forest: First Floor Plan; Garden\nElevation c.1820\n2 drawings\nUniversity of Virginia\n*Troye\nFN\nView of Bremo\nMr. John Elliott, Charlottesville\n*\nFN\nModel of Monticello\n*\nFN\nModel of Poplar Forest\nPhotographs of: Bremo, South Elevation\nRuins of Barboursville\nFarmington\nPoplar Forest\n3. Public Buildings\n*Birch\nEM\nView of the Capitol\nLibrary of Congress drawing\nBugniet\nPlan for a Prison engraving\nLyon, Bibliotheque Municipale\nChalgrin\nLongitudinal Section of Saint-Philippe du\nRoule\nLatitudinal Section of Saint-Philippe du\nRoule\n2 engravings\nMusee Carnavalet, Paris\n*Clerisseau\nFN\nModel of the State Capitol of Virginia\nVirginia State Library, Richmond\n*Clerisseau\nAntiquites de la France 1778\nopen at the Maison Carree\n-63-\n*Davis, after Hadfield WHA Plan of City Hall Washington 1833 drawing\nColumbia Historical Society, Washington\n*Davis, after Hadfield\nWHA\nDesign for the City Hall, Washington 1833\nColumbia Historical Society, Washington drawing\n*Davis, after Hadfield\nWHA\nThe Capitol, Washington 1833 drawing\nColumbia Historical Society, Washington\n*Diamond, Faws, Hoban,\nFN\nCompetition Design for the President's House\nJefferson, Small\nMaryland Historical Society\n1792\n*Hadfield\nWHA Washington, First Treasury Office drawing\nMassachusetts Historical Society\nLatrobe\nTobacco Leaf Capital\nMonticello\nAfter Latrobe\nPlaster Copy of Tobacco Leaf Capital, Restored\n*Latrobe\nBS Penitentiary, Main Floor Plan drawing\nVirginia State Library\n*Latrobe\nBS\nPerspective of Entrance of Penitentiary\nVirginia State Library drawing\nLegrand and Molinos\ndeM\nCross Section of Halle au Ble drawing\nMusee Carnavalet, Paris\n*Peale, C.W.\nCS\nPortrait of Latrobe\nWhite House\n*Saint-Memin\nPortrait of William Thornton drawing\nAmerican Institute of Architects, Washington\nThiery\nFN Interior of the Halle au Ble engraving\nFrom Thiery, Almanach du voyageur a a Paris,\n1758-1786 pl. 6\nBibliotheque Nationale\n*Thornton\nFN\nElevation of the North Wing of the Capitel\nLibrary of Congress\ndrawing\n*\nConjectural Drawing of Elevation of Christ\nChurch, Charlottesville, Virginia\nUniversity of Virginia\n*\nPhotograph of Christ Church, Charlottesville\nUniversity of Virginia\n-64-\n4. Planning of Cities\nChalmandrier\nPlan of Montpellier engraving\nLibrary of Congress\nDelagrive\nReprint of plan of Versailles 1746\nLibrary of Congress\nEllicott\nMap of Washington engraving\nLibrary of Congress\nEsnauts and Rapilly\nPlan of Paris 1777 engraving\nLibrary of Congress\n*Jefferson\nDrawings\nSee Attached List\n*Parkyns\nEM\nView of Washington 1795 engraving\nLibrary of Congress\n*Parrocel\nPortrait of L'Enfant\nNationalmuseum, Stockholm\n*Pfaunz\nPlan of Karlsruhe 1739 engraving\nStadtbiblicthek, Karlsruhe\nSaige\nPlan of Bordeaux 1787 engraving\nLibrary of Congress\nSeutter\nPlan of Turin 1744 engraving\nLibrary of Congress\n5. University of Virginia\n* de Chambray, E. and F.\nParallele de l'architecture antique avec la\nmoderne 1766 facsimile\nPlate showing the \"Doric of Palladio\"\nJuxtaposed to Pavilion VII\n* de Chambray, E. and F.\nParallele de l'architecture antique avec\nla moderne 1766 facsimile\nPlate showing the Corinthian order from\nDiocletian's Baths\nJuxtaposed to Pavilion VIII\n* de Chambray, E. and F.\nParallele de l'architecture antique avec la\nmoderne 1766 facsimile\nPlate showing the Doric order from Diocletian's\nBaths -- Juxtaposed to Pavilion I\n-65-\n*de Chambray, E. and F.\nParallèle de l'architecture antique avec la\nmoderne 1766 facsimile\nPlate showing the Doric order of Albano\nJuxtaposed to Pavilion IV\n*de Chambray, E. and F.\nParallèle de l'architecture antique avec\nla moderne 1766 facsimile\nPlate showing the Doric of Theatre of Marcellus\nJuxtaposed to Pavilion X\n*Desgodets\nEdifices antiques de Rome 1779 p1. 4\nJuxtapose to Pavilion VII facsimile\nLedoux\nFN Hotel Guimard c.1772 engraving\nBibliotheque Nationale\nJuxtapose to Pavilion IX\n*Le Rouge\nFN Ground Plan of the Column House, Desert de\nMonville\nfacsimile\nengraving\n*Neilson\nPeter Maverick's Plan of Dome Room of Rotunda\nNichols 385\nUniversity of Virginia\n*Piranesi\nPantheon from Vedute di Roma 1748 pl. 60\nJuxtaposed to the Rotunda\n*Piranesi\nVedute di Roma 1748 pl. 45 \"Temple of Fortuna\nVirilis\"\nJuxtaposed to Pavilions II IX\n*Piranesi\nVedute di Roma 1748 p1. 33 \"Theatre of Marcellus\"\nJuxtaposed to Pavilion VI\n*Palladio, ed, Leoni\nThe Architecture of A. Palladio, in Four Books\n1742 Plate showing the Corinthian order\nJuxtaposed to Pavilion ITI facsimile\n*Palladio, ed. Leoni\nThe Architecture of A. Palladio, in Four Books\n1742 Plate showing the Tonic order facsimile\nJuxtaposed to Pavilion V\n*Palladio, ed. Leoni\nThe Architecture of A. Palladio, in Four Books\n1742 Plate showing the parapet of the Temple of Nerva\nJuxtaposed to Pavilion X facsimile\n-66-\n* Randolph, Cornelia Jefferson FN University of Virginia: South Elevation\nof the Rotunda with South Elevations of\nPavilions IX and X drawing\nUniversity of Virginia\n*Stuart\nAB Thomas Jefferson 1805\nMrs. Donald B. Straus\n*Unknown\nFN Le Chateau de Marly\nVersailles\nEnlarged photographs of the buildings of the University of Virginia\n-67-\nPLEASURES OF NATURE\n(East Garden Court)\nJefferson and Landscape Design\nI. The Renaissance Garden\n1. The European Heritage\nKnyff\nEM\nProspect of Mr. Pierrepoint's House at Nottingham\nMr. Paul Mellon\nPerelle\nEM\nLe Jardin de M. de Chamlay etching\nDumbarton Oaks, Washington\n2. Colonial Interpretation\n*\nEM\nPlan of Mount Airy (Photo reproduction from Alice\nLockwood's Gardens of Colony and State 1931-1934)\n*\nEM\nPhotograph of Mount Vernon Garden and plans by\nSamuel Vaughan (facsimiles)\nEM\nBodleian Plate of Topiary Garden, College of\nWilliam and Mary engraving\nfacsimile\nII. The Landscape of Nature: Remantic Transformation\n1. England\nAttributed Bridgeman\nBird's Eye Persepctive of Stowe House C. 1720\nBodleian Library\nUnknown\nPlans for Stowe 1773 engraving\nNew York Public Library\nUnknown\nStowe from Vergnaud's \"L'Art de creer les jardins\"\nNew York Public Library\n1739\nJames\nThe Leasowes engraving\nKing's Topographical Collection, British Museum\n36-21-3\nWoollet\nPainshill engraving\nVictoria and Albert Museum E.1063.12-1889\nFOPD\nKent\nThe Exedra, Chiswick\nDuke of Devonshire\nEM Hagley engraving\nMap Room, British Museum\nEM Woburn Farm engraving\nVictoria and Albert Museum 92.c.8.E.1063.1-12.1889\n2. France\nBlaikie\nEM Plan of the Gardens of Bagatelle drawing\nBibliotheque Nationale\nLe Rouge\nEM Plan of Madame de Tesse's Gardens at Chaville\nDumbarton Oaks, Garden Library engraving\n*\nde Laborde\nView of Ermenonville from Les Nouveaux Jardins de\nla France\nengraving\nMrs. Sarah Hunter Kelly, New York\n* Jefferson\nFN Garden of Hotel de Langeac facsimile\nHuntington Library, California\nDugourc\nEM Garden Scene gouache\nMetropolitan Museum\nIII. Jeffersonian America\n*Parkyns\nEM View of Washington from Georgetown 1793 engraving\nLibrary of Congress\nBirch\nEM \"The Woodlands\" from \"Country Seats in America\"\nThe Library Company of Philadelphia engraving\nUnknown\nEM Solitude\nHistorical Society of Pennsylvania\nUnknown\nEM View of West Front of Monticello and Garden c.1820 .\nMrs. Catherine Coolidge, Massachusetts drawing\nJefferson Garden Plans:\n*\nFN Plan of the Monticello House and Rectangular\nFlowerbed Nichols 57\nMassachusetts Historical Society\nFN Jefferson's Survey of Fields 1794\nHuntington Library, California facsimile\nFN Monticello: General Plan of the Estate 1806\nMassachusetts Historical Society Nichols 209\n-69-\nFN Jefferson's Plan of the Winding or Roundabout\nWalk 1807\nBetts plate 24\nMassachusetts Historical Society\nMonticello: Survey Showing House, Offices and\nFour Roundabouts Nichols 225 Massachusetts\nHistorical Society 1809\n*\nFN Jefferson's Plan for Laying out Lots for\nMinor Articles of Husbandry Betts p1. 26\nHuntington Library, California facsimile\n*\nFN General Plan of Top of Mountain\nNichols 61 Reverse of 34\nMassachusetts Historical Society\n*\nFN Monticello: Sketch of the Garden Showing\nFlowerbeds Nichols 147gg\nMassachusetts Historical Society\nPhotomural of Monticello Garden\nJefferson Garden Buildings and Furniture\n*\nFN \"A Temple for a Garden\" from Gibbs Nichols 62\nMassachusetts Historical Society\n*\nFN A Garden Temple Nichols 63\nMassachusetts Historical Society\nFN Garden Pavilion in Various Styles with Notes 1807\nNichols 182 4 pages\nMassachusetts Historical Society\n*\nFN Decorative Outchambers from Jones Nichols 91-92\nMassachusetts Historical Society\nSources for Above:\n*Gibbs\nBook of Architecture 1739 Plates 67 and 69\n*Kent\nThe Designs of Inigo Jones 1727\nRigaud and Baron after\nStowe Gardens in Buckinghamshire\nSarah Bridgeman\nEM View of the Queen's Theatre from the Rotunda 1739\nBritish Museum\nengraving\nFORD\n-70-\nJefferson\nFN Chinese Lattice Gate Nichols 67\nMassachusetts Historical Society\n*\nFull Scale Model of Gate\n*\nFN \"A Garden Seat by Mr. Jones\" Nichols 497 1763\nUniversity of Virginia\nChambers\nPlans\nof the Gardens and Buildings at Kew in\nSurry\n*Jefferson\nFN\nThird Variant for Range and Gardens Showing\nSerpentine Walls Nichols 369\nUniversity of Virginia\nJefferson\nFN\nIV. NATURAL HISTORY\nBannister\nEM\nMagnolia drawing\nBritish Museum (Natural History)\nBannister\nEM\nTrumpet Honey Suckle drawing\nBritish Museum (Natural History)\nBarton\nEM Jeffersonia engraving\nAmerican Philosophical Society\nBartram\nEM Franklinia\ndrawing from the Fothergill Album\nBritish Museum (Natural History)\nBartram\nEM\nStrawberry Fragaria drawing\nHistorical Society of Pennsylvania\n* Catesby\nEM\nNatural History of Carolina, Florida and the\nBahama Islands\nMr. Walter Chatham, Washington\nCatesby\nEM Stewartia\nMountain Laurel Kalmia Latifolia\nMagnolia Grandiflora\nengravings (3)\nNew York Public Library\nChurch\nEM\nPassenger Pigeon\nPurple Finch\nengravings (2)\nDumbarton Oaks\n-71-\n*Church\nER\nView of Natural Bridge\nUniversity of Virginia\n*Houdon\nHHA Buffon 1782\nCalifornia Palace of the Legion of Honor\n*Latrobe\nBS The Ground Squirrel 1796\nCypredium acaule\nRichmond--Lady Slipper from\nBlossom to Roots 1798\nRepresentative of the Leaf of the Sumac Tree 1809\nView of the Great Falls of the Potomac 1809\nJefferson's Rock, Harper's Ferry\nLuna Moth on a Marble Slab 1796\nSpiraea, Hanover Co. 1797\nBloodwort, Hanover Co. 1797\ndrawings (8)\nMaryland Historical Society\nLe Rouge\nEM\nGeneral Plan of the Jardin des Plantes\n*Peale, C.W.\nCS Portrait of William Bartram\nIndependence National Historical Park,\nPhiladelphia\n*Peale, C.W.\nCS Falls of the Schuylkill c. 1770 drawing\nCharles Sellers\n*Peale, C.W.\nCS\nRubens Peale with a Geranium 1801\nMrs. N.B. Woolworth, New York\n*Peale, C.W.\nCS Harper's Ferry 1814\nWalker Art Center, Minneapclis\nPeale, R. after\nCS F, Andre Michaux engraving\nFORD\nHunt Library, Pittsburgh\n4223\nRedouté\nEM Azalea\nLarkspur\nGeranium\nHoneysuckle\nengravings (4) from Rousseau's Botanique 1815\nDumbersion Oaks\nRedoute\nEM Dogwood\nSassafras\nTuliptree\nGordonia\nengravings (4) from François Andre Michaux's\nHistoire des arbres forestiers de l'Amérique\nsepteutrionale 1810-1812\nDumbarton Oaks\n-72-\n*Reinagle\nEM\nView of Elgin Botanic Garden drawing\nNew York Public Library\nRush\nLinnaeus\nCorcoran Gallery, Washington\nWilson\nEM\nClark's Nutcracker\nLewis' Woodpecker\nMockingbird\nengravings (3) from \"American Ornithology\"\nAcademy of Natural Sciences, Philadelphia\nWilson\nEM\nMagpie drawing\nMuseum of Comparative Zoology\nBooks:\nGronovius and Clayton\nFlora Virginica. 1762\nHeely\nLetters on the Beauties of Hagley, Envil and the\nLeasowes 1777\nJefferson\nNotes on the State of Virginia 1787 P. Mellon\nLangley\nNew Principles of Gardening 1728\nMiller\nThe Gardeners Dictionary 1768\nWhately\nObservations on Modern Gardening 1770\nChambers\nDissertation on Oriental Gardening 1772\nParkyns\nAppendix to Sketches in Architecture by Sir John\nSoane 1793, \"Six Designs for Improving and\nEmbellishing Grounds\"\nDumbarton Oaks, Garden Library\nPayne\nObservations on Gardening\n-73-\nPLANTS FOR EAST GARDEN COURT for THE EYE OF THOMAS JEFFERSON\nI. ZONE I - Exotic Shrubs and Trees in Planter Boxes and Tubs\nBotanical Name\nCommon Name\nCitrus aurantium\nSour or Seville Orange\nCitrus aurantifolia\nLime\nPunica granatum\nPomegranate\nFicus\nFig (Turkey or Celeste)\nAcacia farnesiana\nOpapanax\n0lea Europea\nCultivated Olive\nFranklinia\nFranklinia\nPrunus domestica\nPlum\nKoelreuteria paniculata\nGolden Raintree\n(To be introduced on or near the 4th of July)\nII. ZONE II - Native Trees and Shrubs\nMagnolia grandifola\nSouthern Magnolia\nMagnolia virginiana\nSwamp Bay\nViburnam prunifolium\nBlack Haw\nOxydendrum aboreum\nSourwood\nKalmia latifolia\nMountain Laurel\nClethra almifolia\nSweet Pepperbush\nEuonymus americanus\nStrawberry Bush\nTHE FORD\nRhododendron viscosa\nWhite Swamp azelia\nIllix vomitoria\nYaupon Holly\nSassafras albidum\nSassafras\nLonicera sempervirens\nTrumpet Honeysuckle\n(Mount Vernon will furnish some cuttings)\nJuniperus virginica\nVirginian Cedar\n-74-\nIII. ZONE III - Annuals and Perennials (Fountain Zone)\nBotanical Name\nCommon Name\nIris bicolor\nIris\nIris xiphium\nSpanish Iris\nAmaryllis belladona\nBelladona Lily\nLilium candidum\nMadonna lily\nLilium superbum\nSwamp lily\nHeliotrope\nHeliotrope\nTagotes patula\nFrench marigold\nTagotes erecta\nAfrican marigold\nNicotania\nTabacco\nSpecial at base of sculpture - Jeffersonia diphylla\n-75-\nTHE EYE OF THOMAS JEFFERSON\nSpecial Essays\nSir Francis Watson\nAmerican Collectors of French Furniture\nin the Early Republic\nThomas McCormick\nClerisseau and Jefferson\nPaul Foote Norton\nJefferson, Latrobe and the National Capitol\nEdward Dumbauld\nJefferson and the Adamses in Europe\nH.C. Rice, Jr.\nJefferson in Paris\nHarold E. Dickson\nJefferson as Art Collector\nFrederick Nichols\nInfluences on Jefferson's Major Buildings\nSamuel Roberson\nJefferson and Landscape Gardening\nGeorge Green Shackelford\nJefferson's Italian Travels\nAlfred Bush\nThe Life Portraits of Thomas Jefferson,\na new edition with an introduction by Walter\nMuir Whitehill\nGENAL it. FORD\nD L L L L 1 L\nW.H. Jask Force\nAugust 15, 1975\nMEMORANDUM TO:\nTED MARRS\nJIM CANNON\nJIM CONNOR\nBOB GOLDWIN\nRUSE ROURKE\nWARREN RUSTAND\nPAUL THEIS\nFROM:\nJACK MARSH\nCarter Brown came to see me in reference to the proposed exhibit\nentitled, \"The Eye of Thomas Jefferson\" currently scheduled for\nJune 1 at the National Gallery of Art. Because of the forthcoming\nvisit about that same time of Giscard d'Estaing, he is suggesting a\nchange la the opening of the visit to the 31st of May.\nHe thinks it would be helpful to tie in the opening of this exhibit\nwith the visit of the President of France, who will be here at that\ntime to present the sound and light gift to Mount Vernon.\nCarter said that as a part of their exhibit, they are planning on having\na French flreworks show similar to the type of display that would have\noccurred during Jefferson's time. In fact the Areworks company who\nwill be making the fireworks for the display is the same company that\nmanufactured the liseworks that Je Terson observed when he was in\nParis,\nCartor 1. very anxious to have Presidential participation In this Great,\nand E think 12 is something that should be seriously considered.\nJOM.cb\nFORD\nGERALD\nLIBRARY\nAugust 1, 1975\nDear Mr. President:\nOn behalf of the Trustees of the National Gallery\nof Art, I write to invite you and Mrs. Ford to be our\nguests at the opening of \"The Eye of Thomas Jefferson\",\nthe Gallery's tribute to the nation's birthday. It\nhas received unprecedented support with major loans\nand masterpieces coming from European as well as\nAmerican collections. Your own role in securing the\nloan of the Venus de'Medici during your recent visit\nwith President Leoni is itself a major contribution to\nthe success of the exhibition.\nI would appreciate it if the evening of June 1,\n1976 could be marked on your calendar to participate\nin a gala event. We are planning a special 18th Century\nfireworks display on the Mall following an inaugural\ndinner.\nRespectfully yours,\nSIGNED\nJ. Carter Brown\nDirector\nThe President\nThe White House\nWashington, D.C. 20500\nDERALO FORD LIBRARY\nJCB:WHA:po\ncc: DAN\nEye of TJ\nMARSH, JOHN\nSCHEDULE PROPOSALS\nFILE w/ \"The Eye\nof Jefferson\" proposal.\nSeptember 11, 1975\nMEMORANDUM FOR: JACK MARSH\nFROM:\nTED MARRS\nAttached is the Schedule Proposal which has been\nturned in concerning \"The Eye of Jefferson\"\nExhibition.\nBecause of the separation of time between the\nGiscard visit and the opening of the exhibition,\nwe have completely separated the two events and\nare suggesting the President participate in the\nJ. Carter Brown dinner leaving the \"Sound and\nLight Show\" to the government of France to suggest.\nI'll keep you informed of progress.\nAttachment\nMEM/sjd\nHand written note by Dr. Marrs: \"Our intelligence is that Giscard is\ngoing to invite the President to be\ninvolved.\" Ted/\nFORD is LIBRAR OFRALD"
}