Slate Gravestone for Nathanael Mather, 1688, Charter Street Burial Ground, Salem. An Aged person / that had seen but / Nineteen Winters / in the World.
Hawthorne, a frequent visitor to Salem's Charter Street burial ground, used the epitaph for Nathanael Mather, the son of Rev. Increase Mather,in his story Fanshawe.
Historian Sidney Perley wrote the following about Mather: “Nathaniel Mather was son of Rev. Increase and Maria Mather of Boston, where he was born July 6, 1669. His father was president of Harvard College; and two of his brothers were Reverends Cotton and Samuel Mather. He entered Harvard at the age of twelve, and took his first degree at the age of sixteen, when he gave a Hebrew oration, so great a scholar had he become at that tender age. His acquaintance with general literature and science of those times was extraordinary; and he excelled in mathematics, classics and theology. He was a hard student and a good scholar, but too close application, probably without relaxation, produced ill health. At the age of fourteen, he dedicated himself to God. His dedication consisted of devotion to prayer for personal sanctity, and he deliberated so much and so seriously that had became morbid and melancholy. He had taken his second degree at college just before his death. He had contracted ill habits of posture of body, which, persisted in, produced effects which made him appear like an old man. He died in Salem Oct. 17, 1688, at the age of nineteen, and was buried in the Charter Street burying ground, where his gravestone still stands. It is said that his brother Cotton wrote the epitaph upon it….“ (Sidney Perley, The History of Salem, Massachusetts, Vol. 3, pp. 231-32.)
(Photography by Joseph R. Modugno)
The Scarlet Letter, 1892 edition Cover of 1892 edition of The Scarlet Letter published by the Riverside Press in Cambridge. (courtesy of Dr. Philip Sbaratta}
The Scarlet Letter Title page of 1892 edition of The Scarlet Letter with image of Custom House (courtesy of ...)
Title page of 1850 edition of The Scarlet Letter (courtesy of ...)
Hester on the Scaffold This image appears in the January 1991 edition of the Essex Institute Historical Collection, vol. 127, no. 1. It is a reprint of the illustration by Mary Hallock Foote from the 1878 edition of The Scarlet Letter published by James R. Osgood. Dr. Rita Gollin, author of the article in the EIHC entitled "The Scarlet Letter" which features this image, notes that "[w]hile Foote was not the first to illustrate the novel, her portraits of Hester are unusual in their reality, dense detail, and centrality to the composition" (17). (courtesy of ...)
Fig. 2. "The Interview." Illustration by F.O.C. Darley.
From The Scarlet Letter (Boston and New York: Houghton, Mifflin and Company, 1892), opposite p. 96.
"Darley augments Hawthorne's text with such details as the chain on the wall and Hester's lavish dress." caption on image opposite p. 96. (courtesy of ...)
Pearl and The Scarlet Letter Fig. 3. "Pearl and the Scarlet Letter". Wood engraving
by George M. Richards. From "The Scarlet Letter" (New York:
Macmillan, 1927). Sentimentally elaborating on Hawthorne's text.
Richards presents a cozy room with a sampler on the
wall, balls of yarn in a basket, and a hooked rug on the
floor, in which a slender Hester with downcast eyes
covers her scarlet letter while a smiling Pearl with
flowers in both hands gracefully dances before her. (courtesy of ...)
Arthur Dimmesdale Fig. 4. Wood engraving by Barry Moser for the Pennyroyal Press from the January 1991 edition of the Essex Institute Historical Collection, vol. 127, no. 1; originally printed in 1984 edition of The Scarlet Letter(New York: Harcourt Brace and Jovanovich, 1984)Referring to the image in the 1984 HBJ edition, Dr. Rita Gollin, author of the essay "The Scarlet Letter," points out that "Mosler's images play an active interpretive role in this edition, particularly this final image showing Arthur Dimmesdale with his eyes downcast and the scar of an "A" clearly visible on his chest" (28). (courtesy of ...)
Title page of 1878 edition of The Scarlet Letter Early illustrated edition of The Scarlet Letter published in Boston by James R. Osgood and Company, formerly Ticknor, Fields, and Fields, Osgood, & Co. (courtesy of James R. Osgood and Co.)
Illustration of the Custom House from early edition of The Scarlet Letter From first page of "The Custom-House" chapter in the 1878 edition of The Scarlet Letter published in 1878 by James R. Osgood and Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony (1) (courtesy of James R. Osgood and Co.)
The Prison Door from "The Custom-House" chapter of The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston.Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (49)
"She was led back to Prison" from chapter entitled "The Recognition" in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (78)
"The Eyes of the Wrinkled Scholar Glowed" from chapter entitled "The Interview" of The Scarlet Letter Chillingworth is called to prison cell as healer to aid Hester and her ailing Pearl in this illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (87)
The Lonesome Dwelling from chapter entitled "Hester at Her Needle" in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (93)
Lonely Footsteps from chapter entitled "Hester at Her Needle" in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (99)
A Touch of Pearl's Baby-Hand from the chapter entitled "Pearl" in The Scarlet Letter Illustration of Hester and her baby Pearl from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (113)
Vignette on first page of Chapter 7, "The Governor's Hall" of The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (118)
The Governor's Breastplate from chapter entitled "The Governor's Hall" of The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (125)
"Look thou to it! I will not lose the child!" from chapter entitled "The Elf-child and the Minister" of The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (135)
The Minister and Leech from chapter entitled "The Leech" of The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (148)
The Leech and his Patient from the chapter of the same name in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (165)
The Virgins of the Church from chapter entitled "The Interior of a Heart" in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (172)
"They stood in the noon of that strange splendor" from chapter entitled "The Minister's Vigil" in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (185)
Hester in the House of Mourning from chapter entitled "Another View of Hester" in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (185) (195)
Mandrake from chapter entitled "Hester and the Physician" inThe Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (211)
"He gathered herbs here and there" from chapter entitled "Hester and Pearl" in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston (213)
Pearl on the Sea-Shore from chapter entitled "Hester and Pearl" in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (217)
"Wilt thou yet forgive me?"from chapter entitled "The Pastor and His Parishoner" in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (237)
A Gleam of Sunshine from chapter entitled "A Flood of Sunshine" in The Scarlet Letter Illustration from Chapter "A Flood of Sunshine" from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (249)
The Child at the Brook-side from the chapter of the same name in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (257)
Chillingworth,--"Smile with a sinister meaning" from chapter entitled "The New England Holiday" in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston (287)
New England Worthies from chapter entitled "The Procession" in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston (289)
"Shall we not meet again?" from chapter entitled "The Revelation of the Scarlet Letter" in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston (311)
Hester's Return from chapter entitled "The Conclusion" in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston (320)
Posters
Poster from 1965 film version of The Scarlet Letter
Poster advertising 1965 film version of The Scarlet Letter This poster,owned by Peter Blatty, was exhibited at the celebration of the 150th anniversary of the publication of The Scarlet Letter at the Salem Custom House.
The Custom House
Exterior of the Salem Custom House, 2000 Constructed in 1819, the Salem Custom House is a superb example of American Federalist public architecture. Hawthorne worked here as surveyor of the port from 1846-1849; import duties collected here helped finance the federal government. Constructed on ground where the George Crowninshield house once stood, the Salem Custom house, says Bryant F. Tolles, Jr. in Architecture of Salem, "may be entered through a beautifully adorned front central doorway serviced by a sweeping flight of granite steps. Combining delicate restraint and rich detail in the best tradition of Salem Federal architecture are the balustraded front entrance, with its four attenuated Ionic composite columns and fully developed entablature, and the modified Palladian window above which the porch column entablature elements are repeated. Perched high on the roof balustrade rests, in Hawthorne's words, 'an enormous [gilded] specimen of the American eagle, with outspread wings, a shield before her breast, ...a bunch of intermingled thuinderbolts and barbed arrows in each claw....' Surmounting the hipped roof, with its tall brick chimneys, is an octagonal Italianate cupola that dates from alterations (mostly interior) made in 1853/4. A three-story bonded warehouse ell is attached to the rear. Although the construction of the Custom House occurred several years after Samuel McIntire's death, it shows McIntire's influence, perhaps in large part because four of his contemporaries--nephew Joseph McIntire, Jr., David Lord, Joseph Edwards, and Joseph True--are known to have labored on the building. Perley Putnam (1778-1864) of Salem supervised construction" (58).
(photography by Aaron Toleos)
Hawthorne's Office in the Salem Custom House (courtesy of ...)
Photograph of Nathaniel Hawthorne from a daguerreotype,1848(?) This image was made during the period when he served as surveyor at the Salem Custom House and may have been done by John Adams Whipple, Boston. (courtesy of ...)
14 Mall St
Sign on 14 Mall St., the house where Hawthorne wrote The Scarlet Letter.
14 Mall Street in 2001 Hawthorne wrote The Scarlet Letter in this house.
14 Mall Street in Salem Hawthorne wrote The Scarlet Letter while living in this house.
Parlor on second floor of 14 Mall Street in Salem Nathaniel Hawthorne wrote The Scarlet Letter in this house.
Postcard c. 1907 with picture of 14 Mall St., Salem Hawthorne lived in this house when he wrote The Scarlet Letter in 1849.
Objects and places related to Hester
Gloves, 1640-60 An example of the type of embroidery Hester would have done.
The Ward House Great Room An interior typical of the room in which Hester
Prynne met with the Governor and ministers.
Elizabeth Pain Gravestone, 1704. The Elizabeth Pain gravestone, King's Chapel, Boston. Local tradition holds that Elizabeth Pain was the prototype for Hester Prynne in Hawthorne's The Scarlet Letter.
King's Chapel Burial Ground, Boston The Elizabeth Pain gravestone is located in King's Chapel, Boston. Local tradition holds that Elizabeth Pain was the prototype for Hester Prynne in Hawthorne's The Scarlet Letter. (Photography by Joseph R. Modugno)
King's Chapel Burial Ground, Boston The Elizabeth Pain gravestone is located in King's Chapel, Boston. Local tradition holds that Elizabeth Pain was the prototype for Hester Prynne in Hawthorne's The Scarlet Letter. (Photography by Joseph R. Modugno)
King's Chapel, Boston The Elizabeth Pain gravestone is located in King's Chapel, Boston. Local tradition holds that Elizabeth Pain was the prototype for Hester Prynne in Hawthorne's The Scarlet Letter. (Photography by Joseph R. Modugno)
William Bradstreet
Governor Simon Bradstreet House, Salem
from Sidney Perley's History of Salem (courtesy of ...)
Portrait of Governor Simon Bradstreet
from Sidney Perley's History of Salem, Massachusetts (courtesy of ...)
Tomb of Simon Bradstreet, Charter Street Burial Ground, Salem. The Tomb of Simon Bradstreet, a Governor of Massachusetts Bay Colony and the husband of Puritan poet Anne [Dudley] Bradstreet. (courtesy of ...)
Film versions
Publicity photograph from the 1926 silent film version of The Scarlet Letter starring Lillian Gish as Hester Prynne and Lars Hanson as Arthur Dimmesdale The 1926 silent film version of The Scarlet Letter by the Swedish director
Victor Seastrom (Victor Sjöström)starred Lillian Gish and Lars Hanson. Other members of the cast included: Henry B. Walthall, Karl Dane, Marcelle Corday, William H. Tooker, Fred Herzog, Jules Cowles, Mary Hawes, Joyce Coad, James A. Marcus, Nora Cecil, Dorothy Gray, Margaret Mann, Polly Moran.A Metro-Goldwyn-Mayer production, the film was based on an adaptation of the novel by Frances Marion. Set design was by Cedric Gibbons and Sidney Ullman, and costume design by Max Rée. Cinematography was by Hendrik Sartov and editing by Hugh Wynn. This was Gish's second film in a five film contract with MGM.
The 1926 silent film version of The Scarlet Letter by the Swedish director Victor Seastrom (Victor Sjöström)starred Lillian Gish and Lars Hanson. Other members of the cast included: Henry B. Walthall, Karl Dane, Marcelle Corday, William H. Tooker, Fred Herzog, Jules Cowles, Mary Hawes, Joyce Coad, James A. Marcus, Nora Cecil, Dorothy Gray, Margaret Mann, Polly Moran.A Metro-Goldwyn-Mayer production, the film was based on an adaptation of the novel by Frances Marion. Set design was by Cedric Gibbons and Sidney Ullman, and costume design by Max Rée. Cinematography was by Hendrik Sartov and editing by Hugh Wynn. This was Gish's second film in a five film contract with MGM.
Pearl (Joyce Coad), Hester Prynne (Lillian Gish)and the Reverend Arthur Dimmesdale (Lars Hanson)in the final scene of the silent version of The Scarlet Letter The 1926 silent film version of The Scarlet Letter by the Swedish director Victor Seastrom (Victor Sjöström)starred Lillian Gish and Lars Hanson. Other members of the cast included: Henry B. Walthall, Karl Dane, Marcelle Corday, William H. Tooker, Fred Herzog, Jules Cowles, Mary Hawes, Joyce Coad, James A. Marcus, Nora Cecil, Dorothy Gray, Margaret Mann, Polly Moran.A Metro-Goldwyn-Mayer production, the film was based on an adaptation of the novel by Frances Marion. Set design was by Cedric Gibbons and Sidney Ullman, and costume design by Max Rée. Cinematography was by Hendrik Sartov and editing by Hugh Wynn. This was Gish's second film in a five film contract with MGM.
Part of the cast and crew of the silent film version of The Scarlet Letter in 1926 Victor Seastrom,the Swedish director of the film,is seated on the ground in this photo taken of the cast in North Hollywood. Lillian Gish, star of this feature, is seated on his right, and on the other side is Lars Hanson. Other members of the cast included: Henry B. Walthall, Karl Dane, Marcelle Corday, William H. Tooker, Fred Herzog, Jules Cowles, Mary Hawes, Joyce Coad, James A. Marcus, Nora Cecil, Dorothy Gray, Margaret Mann, Polly Moran.A Metro-Goldwyn-Mayer production, the film was based on an adaptation of the novel by Frances Marion. Set design was by Cedric Gibbons and Sidney Ullman, and costume design by Max Rée. Cinematography was by Hendrik Sartov and editing by Hugh Wynn. This was Gish's second film in a five film contract with MGM.
Hester on the Scaffold from the 1926 silent film version starring Lillian Gish/Watch The Scarlet Letter(1926) on TCM The 1926 silent film version of The Scarlet Letter by the Swedish director Victor Seastrom (Victor Sjöström)starred Lillian Gish and Lars Hanson. Other members of the cast included: Henry B. Walthall, Karl Dane, Marcelle Corday, William H. Tooker, Fred Herzog, Jules Cowles, Mary Hawes, Joyce Coad, James A. Marcus, Nora Cecil, Dorothy Gray, Margaret Mann, Polly Moran.A Metro-Goldwyn-Mayer production, the film was based on an adaptation of the novel by Frances Marion. Set design was by Cedric Gibbons and Sidney Ullman, and costume design by Max Rée. Cinematography was by Hendrik Sartov and editing by Hugh Wynn. This was Gish's second film in a five film contract with MGM.
The House of the Seven Gables The House of the Seven Gables with an Introduction by George Parsons Lathrop, Salem Edition, Houghton, Mifflin and Company, The Riverside Press, 1892.
Book cover of Norton Critical Edition of The House of the Seven Gables From the collection of Hawthorne editions by Dr. John Idol, jr. now housed in the Peabody Essex Museum
A 1913 edition of The House of the Seven Gables with cover art by Charles S. Olcott An edition published by Houghton, Mifflin, Boston, 1913
to be sold at The House of the Seven Gables
Book cover of The House of the Seven Gables by Washington Square Press From the collection of Dr. John L. Idol, jr. now housed in the Peabody Essex Museum
Reproduction of the frontispiece by Maude Cowles for an 1899 edition of The House of the Seven Gables published by Houghton, Mifflin, Boston Reproduction of the frontispiece by Maude Cowles for an 1899 edition of The House of the Seven Gables published by Houghton, Mifflin, Boston
(with special thanks to Dr. John L. Idol Jr.)
First page edition for Classics Illustrated version of The House of the Seven Gables, #52 First page edition for Classics Illustrated version of The House of the Seven Gables, #52
Book cover of The House of the Seven Gables From collection of Dr. John L. Idol, jr. which now resides at the Peabody Essex Museum
Illustration of The House of the Seven Gables as rendered for Dell Comics, # 12-840-401. About 1963. Illustration of The House of the Seven Gables as rendered for Dell Comics, # 12-840-401. About 1963.
Book cover of The House of the Seven Gables illustrated by C. G. Bush Book cover of The House of the Seven Gables illustrated by C. G. Bush
One of a group of illustrations, unpublished as far as I know, held by The Essex Institute
Illustration by Valenti Angelo for Heritage Press edition of The House of the Seven Gables, 1935 Dr. John L. Idol, Jr. explains in his lecture delivered at the Turner-Ingersoll House on September 14, 2000,
"No doubt the most celebrated illustrator asked to prepare a set of pictures for The House of the Seven Gables was Italian-born, California-raised, Valenti Angelo,whose colored drawings appeared in the Heritage Club edition in 1935. His oval-shaped and colored illustrations stand at the head of each chapter, each illustration meant to convey the principal mood or event in the chapter it introduces. Here there is no minuteness of detail, nothing resembling Dutch painting at its most realistic. Rather almost ghost-like figures and indistinct structures bring out the gravity and melodrama of Hawthorne's blend of New England Gothicism and the emerging elements of realism in American fiction. One is inclined to say of these broad strokes and the melancholy feelings evoked is that they haunt the book. One is also inclined to say that Angelo wanted to project in his illustrations those qualities which Hawthorne associated with the romance as a distinct form of literature. Here are words that Angelo must have seized upon as he read the romance:
If [the writer] think fit … he may so manage his atmospherical medium as to bring out or mellow the lights, and deepen and enrich the shadows, of the picture. (xv)
Angelo's illustration, in their dark hues of reddish-brown and sage and their lighter hues of yellow and blue, never let us forget that we are reading another of Hawthorne's Americanized Gothic tales."
(with special thanks to Dr. John L. Idol Jr.)
Illustration of a 1968 German edition of The House of the Seven Gables.Illustrator unknown.
Spanish book cover of The House of the Seven Gables From the collection of Dr. John L. Idol, jr. which now resides in the Peabody Essex Museum
Hungarian Book Cover of The House of the Seven Gables From the collection of Dr. John L. Idol, jr. which now resides in the Peabody Essex Museum
Portuguese book cover of The House of the Seven Gables From the collection of Dr. John L. Idol, jr. which now resides in the Peabody Essex Museum
Copy of illustration for a French edition of The House of the Seven Gables for children Copy of illustration for a French edition of The House of the Seven Gables for children
Of the cover
Book Cover of The House of the Seven Gables with Face on the House From the collection of Dr. John L. Idol, jr. which now resides in the Peabody Essex Museum
Holgrave and Phoebe on book cover of Washington Square edition of The House of the Seven Gables This image of Holgrave and Phoebe depicts them as a romantic young couple. None of the problematic aspects of Holgrave’s experience are hinted at in this illustration. (from the collection of Dr. John L. Idol, jr. which now resides in the Peabody Essex Museum) (courtesy of ...)
Book Cover of The House of the Seven Gables with Gargoyle From the collection of Dr. John L. Idol, jr. which now resides in the Peabody Essex Museum
Book Cover of Bantam Classic version of The House of the Seven Gables From the collection of Dr. John L. Idol, jr. which now resides in the Peabody Essex Museum
Book Cover of Dutch version of The House of the Seven Gables From the collection of Dr. John L. Idol, jr. which now resides in the Peabody Essex Museum
Book cover of Riverside Bookshelf version of The House of the Seven Gables, 1924 edition illustrated by Helen Mason Grose
Dr. John L. Idol Jr., in a lecture at the Turner-Ingersoll House on September 14, 2000, discusses the illustrations by Helen Mason Grose for the Houghton Mifflin Riverside Bookshelf edition of the novel:
"In minutely detailed paintings in color and in woodcuts done in black and white, she presented a prettified, sentimental, and energized set of illustrations. Her characters interact, especially in the paintings, and she showed a knack for choosing dramatic scenes where reader interest in most intense, for example, when Judge Pyncheon attempts to kiss Phoebe. Grose depicts her drawing back just as Judge leans towards her, his lips in full pucker. Hepzibah's consternation upon seeing Ned Higgins enter her cent-shop is vividly captured. Grose has been attentive enough to Hawthorne's text to render the house with an over- hanging second story. Her efforts as a collaborative artist won't likely draw applause from mature readers, since she seems to have supplied illustrations suitable for readers in Houghton Mifflin's Riverside Bookshelf Series." (with special thanks to Dr. John L. Idol Jr.)
Picture of chicken yard from House of the Seven Gables
Illustration by Genevieve Cowles of Phoebe in The House of the Seven Gables from the 1899 edition published by Houghton Mifflin John L. Idol, jr. said in a lecture at the House of the Seven Gables in the fall of 2000 that in this illustration Genevieve Cowles captures the sunny traits of Phoebe that Hawthorne stresses about her in the garden scene in which she feeds the degenerated remnants of the Pyncheon flock of chickens. (with special thanks to Dr. John L. Idol Jr.)
Book cover of Oxford Pocket Classics edition of The House of the Seven Gables
Hepzibah, Phoebe, and Judge Pyncheon depicted on cover of 1977 illustrated edition by Now Age/Pendulum Press of The House of the Seven Gables (courtesy of Pendulum Press)
Book cover of Watermill Classic edition of The House of the Seven Gables 1983? (courtesy of ...)
Book cover of The House of the Seven Gables
Book cover of Pocket Version of The House of the Seven Gables featuring Holgrave and Phoebe
Holgrave and Phoebe appear as a romantic, almost melodramatic young couple. The cover emphasizes their love story as the dominant feature of Hawthorne’s novel. (courtesy of ...)
Book cover of Everyman paperback edition of The House of the Seven Gables
featuring Holgrave and Phoebe
For the Everyman edition of The House of the Seven Gables, the illustrator created more stylized images of Holgrave and Phoebe, creating a stronger feeling of distance between them. (from the collection of John L. Idol, Jr. now housed at the Peabody Essex Museum)
(courtesy of ...)
Gothic book cover of The House of the Seven Gables
Book cover of ALS (Amsco Literature Series) version of The House of the Seven Gables
Book cover of 1981 Bantam Classic version of The House of the Seven Gables
Book cover of World's Classic edition of The House of the Seven Gables with reproduction of Van Zandt's painting of a well-dressed gentleman riding a sleigh (with special thanks to Dr. John L. Idol Jr.)
Last page of Classics Illustrated edition of The House of the Seven Gables In the Classic Comics version of The House of the Seven Gables, Holgrave is transformed into Jonathan Maule, whose goal is to break the curse of the Seven Gables. In this illustration, Holgrave appears older than his twenty-two years might suggest.
(courtesy of ...)
Last panel of Classics Illustrated edition of The House of the Seven Gables In his lecture on September 14, 2000, Dr. John L. Idol, Jr. discusses the comic-book versions of Hawthorne:
"I come now to a form of illustrated books that students for decades have been tempted to turn into ponies--and many of them may have succeeded. I'm speaking, of course, of the comic-book-like illustrated classics, those publications that give us realistically drawn characters and places with a bare-bone version of the story. In the earliest manifestation of presenting the romance in the form of serial drawings, the concluding scene became more Poeish than Hawthornean, for we see the seven-gabled house going down in flames not exactly a reprise of the ending of 'The Fall of the House of Usher' but in the same spirit." (with special thanks to Dr. John L. Idol Jr.)
Holgrave from The House of the Seven Gables This illustration from The House of the Seven Gables places Phoebe and Holgrave together in the chicken yard. It emphasizes a pastoral quality in their setting, one that foreshadows their retreat to the country estate at the end of the novel, but that ignores the darkness of Seven Gables. (courtesy of Dr. John L. Idol, Jr.)
Holgrave and Phoebe on Pocket Version of Holgrave and Phoebe appear as a romantic, almost melodramatic young couple. The cover emphasizes their love story as the dominant feature of Hawthorne’s novel. (courtesy of Dr. John L. Idol, Jr.)
The Turner-Ingersoll House
The Turner-Ingersoll House, 54 Turner St., Salem, aka "The House of the Seven Gables" Photograph of the House of the Seven Gables with tulips in bloom. (photography by Dan Popp)
Postcard (1905) of the Turner-Ingersoll House aka "The House of the Seven Gables"--with only three gables When Caroline Emmerton purchased the house at 54 Turner St., it had lost all but three of its gables.
In his lecture on September 14, 2000, Dr. John L. Idol, Jr. noted that Caroline Emmerton
"sat about restoring the house, engaging an
architect, Joseph Edward Chandler, to help
her. He was familiar with Colonial
architecture and led her to the discovery
of the position of three of the missing
gables. They were replaced. Unhappily, for
them, as things turned out, they went ahead
with the construction of a seventh gable,
since, by tradition, the house had sported
a seventh one. Further study of the
building revealed the presence of another
original gable, the authentic seventh....
Despite the evidence before her that
Hawthorne's knowledge of the old house was
superficial at best, Emmerton pushed ahead
with her efforts to transform it into the
house that Hawthorne had moved from Turner
Street into the pages of his romance. She
remodeled the house to give it the
requisite number of gables, choosing to
keep the one at back rather than to build
an authentic seventh over the front
entrance, setting up a cent-shop, and
furnishing the house in such a manner as to
be able to say that a certain room was
Phoebe's, that a particular window was the
one Clifford had stood at as he gazed upon
the street below. As far as possible, life
was following art, although she was puzzled
to find that Hawthorne had made no apparent
use of the secret passage way that the
Turner-Ingersoll house has."
(with special thanks to Dr. John L. Idol Jr.)
Kitchen fireplace Fireplace in kitchen in House of Seven Gables.
Hepzibah and Phoebe would have prepared meals
using such a fireplace. (courtesy of The House of the Seven Gables Historic Site)
Postcard of The House of the Seven Gables c. 1905.
Postcard from 1905 of The House of the Seven Gables
Postcard c. 1900 of The House of the Seven Gables
Postcard c. 1900; Garden View of The House of the Seven Gables
Postcard c. 1900 of the Parlor in the House of the Seven Gables (courtesy of ...)
Postcard of the House of the Seven Gables
Philip English House
Drawing of the Philip English House in Salem Built in 1683 at the head of what is now English St., not far from Collins Cove, this house of many gables was thought by some to be the location of the one described in Hawthorne's novel, The House of the Seven Gables. Called "The Great House," it was considered the most lavish home in Salem of that time. Philip and his wife, Mary, lived here in 1692 when they were accused of witchcraft. Initially imprisoned in the Cart and Wheel Inn in Salem, they were moved to Boston in June and placed under house arrest after the intervention of friends. Allowed their freedom during the day in Boston because of their upper-class status, they fled on a ship to New York in August before their trial in Salem. A secret garret room that was discovered when the house was razed may have been built after Philip and Mary returned to Salem as a hiding place should it ever be needed. (courtesy of ...)
Thomas Maule:
Thomas Maule House Thomas Maule House.
From Sidney Perley's The History of Salem Massachusetts, Vol. II.
Film version
Publicity photo from Universal Picture's film version of The House of the Seven Gables A film version of The House of the Seven Gableswas made in 1940 starring Vincent Price. Directed by Joe May, the film also starred
George Sanders,Gilbert Emery, Dick Foran, Nan Grey, Cecil Kellaway, Margaret Lindsay, Miles Mander, Alan Napier, and Charles Trowbridge.
Other credits are as follows: Composer, Frank Skinner; Costume Designer, Vera West; Director of Photography, Milton Krasner; Editor, Frank Gross
Producer,Burt Kelly;Production Designers, Jack Otterson and Richard H. Riedel;Screenwriters Lester Cole and Harold Greene.
(copyright Turner Classic Movies; used with permission)
Publicity photo from film version of The House of the Seven Gablesstarring Vincent Price and Margaret Lindsay A film version of The House of the Seven Gables was made in 1940 starring Vincent Price. Directed by Joe May, the film also starred George Sanders,Gilbert Emery, Dick Foran, Nan Grey, Cecil Kellaway, Margaret Lindsay, Miles Mander, Alan Napier, and Charles Trowbridge. Other credits are as follows: Composer, Frank Skinner; Costume Designer, Vera West; Director of Photography, Milton Krasner; Editor, Frank Gross Producer,Burt Kelly;Production Designers, Jack Otterson and Richard H. Riedel;Screenwriters Lester Cole and Harold Greene. (copyright Turner Classic Movies; used with permission)
Zenobia NOTE: Use image in MMD 692 This image appears in the Essex Institute Historical Collection volume entitled "From Cover to Cover The Presentation of Hawthorne's Major Romances" accompanying an article by Dr. Melinda Ponder entitled "The Blithedale Romance." The image is reproduced from the frontispiece of an edition of The Blithedale Romance published in Philadelphia by Henry Altemus. The caption in the EIHCarticle reads, "Zenobia portrayed as a fashionable beauty, ca. 1900"(62).
Cover of The Blithedale Romance with introduction by Arlin Turner
Cover of Signet Classic edition of The Blithedale Romance with introduction by Alfred Kazin
Cover of W.W. Norton edition of The Blithedale Romance edited by Seymour Gross and Rosalie Murphy
Cover of the Laurel edition of The Blithedale Romance with an introduction by David Levin
Cover of paperback edition of The Blithedale Romance with introduction by Annette Kolodny
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Cover of Bantam Classic edition of The Blithedale Romance
Zenobia This image appears in the Essex Institute Historical Collection volume entitled "From Cover to Cover The Presentation of Hawthorne's Major Romances" accompanying an article by Dr. Melinda Ponder entitled "The Blithedale Romance." The image is reproduced from the frontispiece of an edition of The Blithedale Romance published in Philadelphia by Henry Altemus c. 1900. The caption in the EIHC article reads, "Zenobia portrayed as a fashionable beauty, ca. 1900"(62). (courtesy of ...)
Fig. 9. Social chaos as observed by Coverdale.. Illustration
by F.H. Townsend. From "The Blithedale Romance" (London:
James Nisbet and Co., 1901), frontispiece.
Fig. 10. A genteel vision of socialism. Illustration
by F.H. Townsend. From "The Blithedale Romance" (London:
James Nisbet and Co., 1901), opposite p. 36.
Fig. 11. "He took the lamp and held it up to gain
a more perfect view of her." Illustration by
Frank T. Merrill. From "The Blithedale Romance"
(New York: Thomas Y. Crowell, 1899),
opposite p. 214.
