MAJOR BIBLIOGRAPHICAL REFERENCES Day, Fred Holland; unpublished letters and scrapbooks. Guiney, Louise Imogen; published correspondance. Rollins, Edward Hyder, & Parrish, Stephen Maxfield; Keats and the Bostonians, Pha thesis 10 GEOGRAPHICAL DATA ACREAGE OF NOMINATED PROPERTY 3 acre UTM REFERENCES Al 2318040 ZONE EASTING cLL 4673 1349 NORTHING VERBAL BOUNDARY DESCRIPTION ZONE EASTING NÓ NORTHING , LL DLU LLILAL LIhL LIST ALL STATES AND COUNTIES FOR PROPERTIES OVERLAPPING STATE OR COUNTY BOUNDARIES STATE CODE COUNTY CODE STATE CODE COUNTY CODE 11 FORM PREPARED BY NAME / TITLE Joseph R. Orfant, National Register Editor and Miriam M.
Lennon, Norwood Historical Society Massachusetts Historical Commission STREET & NUMBER 294 Washington Street CITY OR TOWN 19 October 1976 TELEPHONE 617-727-8470 STATE Boston Massachusetts 12 STATE HISTORIC PRESERVATION OFFICER CERTIFICATION THE EVALUATED SIGNIFICANCE OF THIS PROPERTY WITHIN THE STATE IS: NATIONAL - STATE LOCAL- As the designated State Historic Preservation Officer for the National Historic Preservation Act of 1966 (Public Law 89-665), 1 hereby nominate this property for inclusion in the National Register and certify that it has been evaluated according to the criteil and procedures set tarth by the Mationl Park Solle STATE HISTORIC PRESERVATION OFFICER SIGNATURE abet Rud Amaden TITLE Executive Director, MassachusettS Historical CommissioßAte FOR NPS USE ONLY THEAEDY GEATE THATTNE PROPERTI KS ACLOEA 10/26/76 IN THE NATIONAL REGISTER CHEF RESERVATION ATTEST: tim DATE 4/18/27 DATE 3118.22 KEEPER OF THE NATIONAL GPO 892-453 Property Day, Fred Holland House State Mass.
Working Number 11.1.76.4419 TECHNICAL Photos. 6 Maps 41 sketch map Norfolk CONTROL KP O1L 11.1.76 HISTORIAN accept 3. Graove. 1/15/16 ARCHITECTURAL HISTORIAN Accept myhuiz 12-4.76 ARCHEOLOGIST OTHER HAER Inventory - Review REVIEW UNIT CHIEF NcceoI Cole acte 2/21/22 BRANCH CHIEF National Register Write-up Federal Register Entry 6-7-27 Send-back_ Re-submit Entered United States Department of the Interior National Park Service WASO No. 7 KEEPER Hurntnge 7.18.21 APR 1 8 1977 IN T:2106- 74 Fred Holland Day House Norwood, MA. Date and photographer unknown Norwood Historical Society Norwood, Massachusetts Photo #1, Aooking north towards the Day House, Dy Photo by before the reconstruction. NOV 1 1976 Charles 2. Lennon APR 1 8 1977 Norwood, Mass. PROPERTY OF THE NATIONAL REGISTER #1@r.q.nalHousz SouTE Fred Holland Day House Norwood, MA. c.1891 Photographer unknown (perhaps Mr.
Day) Norwood Historical Society Norwood, Massachusetts Photo #2 & 6 Looking northwest towards the Day House during the reconstruction. NOV 1 1976 D O EAPR 18 1977 PROPERTY OF THE NATONL FOCZ 2 Remodelin9 1890 Copy Phoio by Charles 2. Lennon Norwood, Mass. JAN 1 1 1975 East South Fred Holland Day House Norwood, MA. 1975 Charles J. Lennon Norwood Historical Society Norwood, Massachusetts Photo #3 Looking northwest towards the Day House (east elevation) D JEAPR 1 8 1977 NOV 1 PROPERTY OF THE NATIONAL REGISTER #3 1976 Phoio by Charles 2. Lennon Norwood, Mass. APR 31976 East 9/16/72 Fred Holland Day House Norwood, MA. 1975 Charles J. Lennon Norwood Historical Society Norwood, Massachusetts Photo #4 6 Looking east towards the Day House (west elevation) NOV 1 1976 DOE APR 18 1977 APR3 #4 5 by . Lennon 1, Mass. 1976 West Fred Holland Day House Norwood, MA. 1975 Charles J.
Lennon Norwood Historical Society Norwood, Massachusetts Photo #5 Mf 6 Looking north towards the Day House and carriage house. DOEAPR 1 8 1977 NOV 1 1976 PROFERTY OF THE NATIONAL REGISTER 15 Photo by Charles &. Lennon Norwood, Massi s South Fred Holland Day House Norwood, Massachusetts 1975 Charles J. Lennon Norwood Historical Society Norwood, Massachusetts Photo #6 x 6 Looking south towards the Day House DJE APR 18 1977 PROPERTY OF THE NATOMAL REGISTER #5 1976 Photo by Charles J. Lennon Norwood, Mass. APR 3 1976 4/3 North BULLARD STREET 120 E.H. Day House #93 170° VERNON - 60.00 KURSLN-Lrut 10045. 8938 S.FI 20,445 S.F Aket TELS STREET 20.00 65 3 MA-1 KATEN 78.00 S.F. 191.65 HERMI* Te: DANI 15798 S.F 20 18000 SF Tiuktorr ZUSTC 18000~SF 120. 26 095 S.F 2..
219.32 DAY tamnt 100 STREET 150 Fred Holland Day House Norwood, Massachusetts Property Sketch Map 1975 NOV 1 1976 WASHINGTON STREET t le SoT Plan PAUL GUZZI Socretary of the Commonwealth The Commonwvealth of Massachusetts Office of the Secretary Massachuselts Historical Commission 291 Mashinglon Sireet Boston, Massachuselts 02108 (617)727-8470 October 26, 1976 Mr. Charles Herrington Registrar National Register National Park Service Department of the Interior Washington, D.C.
20240 Dear Charles: Enclosed please find nomination forms for the following properties: Lowell, Holy Trinity Greek Orthodox Church Lawrence, Essex Company Dam Norwood, Fred Holland Day House Lexington, General Samuel Chandler House Bedford, Bacon-Gleason-Blodgett Homestead These properties were reviewed by the Massachusetts Historical Commission (State Review Board) and have been signed by the State Historic Preservation Officer, Elizabeth R. Amadon. Sincerely yours, Pat Patricia L. Weslowski Survey Director Massachusetts Historical Commission Enc. PLW/edh TELLPL1O RECEIVED NOV 1 1976 g NATIONAL REGISTER F8 (o) ENTRIES IN THE NATIONAL REGISTER STATE Date Entered MASSACHUSETTS APR 1 8 1977 Name Location Day, Fred Holland, House Pest House Norvood Nezfolk County Coneord Middlesex County Also Notified Hon. Edward M. Kennedy Hon. Edward W. Brooke Eon. John J. Moakley Hon.
Paul Tsongas Regional Director, North Atlantic Region State Historic Preservation Officer MEs. Elizabeth R. Anadon Executive Dizector, Massachusetts Ilistozical Comnission 294 Washington Street Boston, Massachusetts 02108 880 Mott/ej 4-22-77 IAHUVA QUINCY, MA. 9 74.988 MAY 1203 14 New England Newsclip 1977 Holland House Now Landmark NORWOOD The Fred" streets in the town center, Day aid to make improvements prised the property won accep Holland Day House has been en- House was the home of the turn- Further, it protects the house tance' to the register just one year Itered into the National Register of of-the century literary figure and and site -from damage or en- after the application in final form Historic Places, reportedly the publisher, patron of popular phi- croachmentby any project in was filed with the state.
first private Norwood' property losopher Kahlil Gibran which federal funds are involved. Despite the new privileges the accorded this high level of preser- Built in 1859 and extensively -"This would prevent federal ranking brings, it is doubtful the vation protection. rebuilt in 1890-93, the Tudor Re funds from being used in any historical society will be fling 1or Announcement of the new sta- vival structure is now the home of project that would damage' the federal money in the immediate tus came from the office of State" the Norwood Historical Society. "Day" House,"3 Mr. Curanex- : future. Secretary Paul Guzzi; who is Theodore A. Curtin, chairman William L. Hyland, society plained.
chairman of the Massachusetts of the Norwood Historical Com- The first 'step in the process of president, said improvements to Historical Commission, and was mission and a society member, nominating Day House was taken. the Day House now underway are confirmed locally. i said the new ranking qualifies 19 months ago, Mr. Curtin said, -much less than the usual $10,000 Located at Day and. Bullard: Day House for federal grants-in- 'adding he was pleasantly sur-starting point for matching grants under the National Historic Pres ervation Act. Because of the variety af small repairs planned, : Mr. 'Hyland, & civil engineer, said, "I don't know if we'd be able to-live with-a federal grant. The little grants are a nuisance" because of federal red tape entalled.
* The historical society will draw ,on its own financial resources to make improvements and repair: * to the roof; replacement of the gutters and down. spouts; and improvement and expansion of the heating system, Mr. Hyland -said..; The society, he said, has rough- -ly $25,000 in a variety of bank accounts ta draw from. The true and immediate value of the national registration of the house, Mr. Hyland said, is "pro- tection and publicity." However, not many years away, he added, is a replacement of the roof which could cost $15,000 and, perhaps, be the subject of a grant applica- tion. According to the state historical commission; the Day House is significant both for its "unique architectural styling" and "Its in- -credible reconstruction" as well as for its associations with Mr.
Day:+ The commission found, "Archi- tecturally the house is a blend of several movements popular at the time of its reconstruction, While the stucco and hall-timbering or- * namentátion ls obviously Tudor ¿ Revival, the plan of the house is pure Shingle Style. This ls partic- ularty evident in the 'Great Hall" Apparent, too, ls a definite ta- Auence from Wright's work of the NATIONAL REGISTER OF HISTORIC PLACES has enrolied the Fred Holland Day House Ir Norwood. The sfatus affords the Tudor Revival structure, Tthe Norwood Historica Society, both profection and eligibility for federal funds. * Aretitect, or the house vas i. Willam: Beal. Among his com- missions were the Plymouth County Hospital and Jall, the Bep- ertory Theatre on Huntington Ay. enue in Boston, and tbe Walnut **Street CongregatonaT Church In Boston. 33: 13 neoi Histonicd BOSTON EVENING GLOBE BOSTON, MA. D.
191.716 MAY 1 8 1977 New England Newaclip - -. on bridge, fireplugs, towels Pedestrians who for years have braved trattic to Gaines was authorized to paint them, but not to. cross Boylston street (Rte. 9) in Newton Highlands choose the color. He should consult with the fire soon may get a lift from the state. department and the public should have input, too. It will be a long-awaited footbridge-over Tve always tavored chartreuse, myself. Boylston just south of the Elliot street MBTA station Construction bids are being asked. The bridge will elimihate Newton's most dangerous pedestrian The Fred Holland Day House in Norwood has crossing - three persons have been killed while been entered inta the National Register of Historic. Places. attempting to cross Boylston. THE SUBURBS The question in Newburyport is: What color The announcement came from the office of should the fire hydrants be?
Secretary of State Paul Guzzi, who îs chairman of the The water commissioners pondered the question. Massachusetts Historical Commission. Located at briefly when department manager E. James Gaines Day and Bullard streets in the town center, Day: proposed repainting the fireplugs, using department House was the home of the turn-of-the-century workers on slow days, if there are any. The /literary figure and publisher Kahlil Gibran. The commissioners agreed, but couldn't decide on what tudor revival structures, built in 1859 and extensively: color to have them painted. Gaihes suggested red, rebuilt in 1890-93, is the home of the Norwood: black or yellow. Historical Society. The Stoughton school board is throwing in thes towel, so to speak. Because of heavy losses, the board voted to: discontinue towel service for physical education classes and interscholastic athletic teams.
- More than 75 dozen towels worth more than $1200 vere "lost" last year at the junior and senior high schools. The figure this year is 1176 towels, mostly at the high school. The school committee unanimously: voted to "let the students bring in their own towels? ROBERT B KENNEY 3 pposs. BOSTON GLOBE BOSTON, MA. D. 288,962 MAY 18 V New England Newaclip THE SUBURBS Bridge over troubling trafffic Historical Commission. Located at Day and Bullard streets in the town center, Pedestrians who for years have Day House was the home of the turn-of- braved traffic to. cross Boylston street the-century literary figure and (Rte. 9) in Newton Highlands, soon f publisher Kahlil Gibran. The tudor may get a lift from the state.
- revival structure, built in 1859 and It will be a long-awaited footbridge extensively rebuilt in 1890-93, is the over Boylston just south of the Elliot home of the Norwood Historical street MBTA station. Construction bids Society. are being asked. The bridge will eliminate Newton's most dangerous pedestrian crossing - three persons have been killed while attempting to cross Boylston. Not a burning issue The question in Newburyport is: What color should the fire hydrants be? The water commissioners pondered the question briefly when department manager E. James Gaines proposed repainting the fireplugs, using department workers on slow days, if there are any. The commissioners agreed, but couldn't decide on what color to have them painted. Gaines Bring your own towel The Stoughton school board is throwing in the towel, so to speak.
Because of heavy losses, the board voted to discontinue towel service for physical education classes and interscholastic athletic teams. More than 75 dozen towels worth more than $1200 were "lost" last year at the junior and senior high schools. The figure this year is 1176 towels, mostly at the high school. The school committee unanimously voted to "let the students bring in their own towels." ROBERT B. KENNEY suggested red, black or yellow. - :Gaines was authorized to paint them, but not to choose the color. He should consult with the fire department and the public should have input, too. I've always favored chartreuse, myself... Enter now the Day House The Fred Holland Day House in Norwood has been entered into the National Register of Historic Places. ?!
NR Data Sheet DATE: 11/15/16 Reviewer INITIATS: 3S NR DOE APR 18 1911 NAME AS IT APPEARS IN FEDERAL REGISTER: Day, Fred Holland, House OTHER NANES: Day House LOCATION: STREET & NUMBER 93 Day St. i CITY.
TOWN Norwood CONGRESSIUNAL DISTRICT 9th VICINITY OF STATE Massachusetts 025 -COUNTY code Norfolk - 021 OWNER OF PROPERTY: (Circle) PRIVATE STATE LOCAL GOV'T MUNICIPAL COUNTY OTHER FEDERAL (AGENCY NAME) : ADMINISTRATOR(underline) NPS REGION: (CIRCLE)(N.ATLANTIC MID ATLANTIC SOUTHEAST MIDWEST SOUTHWEST ROCKY MOUNTAIN WEST PACIFIC NORTHWEST FEATURES: ANTERIOR Substantially intact-1 - unknown - 4 - not applicable - 7 CONDITION - _EXCELLENT -GOOD -FAIR EXTERIOR ENVIRONS <Substantially intact-2 unknown.- Substantially intact-3 - not applicable- L unknown -6 Not arplicatle-9 -Interioi, exterior, environs not intact-0 _DETERIORATED LUNALTERED- sima 1893 V _ORIGINAL SITE LRUINS ILALTERED-oinu 1859 _MOVED _UNEXPOSED _Reconstructed _Unknown _Unexcavated -Excavated ACCESS - Yes-restricted Yes-urrestricted No access Unknown historic district? YES NO WITHIN NATIONAL REGISTER HISTORIC DISTRICT?
IF YES, NAME: YES NO WITHIN NATIONAL HISTORIC LANDMARK? IF YES, NAME: YES CNO ADAPTIVE USE: NO Saved? YES NO FUNCTION (S): (use vocabulary words) then- house now-bouse; SIGNIFICANCE: -ARCHEULUGY-PREHISTORIC -ARCHEOLOGY-HISTORIC -AGRICULTURE LARCHITECTURE _COMMERCE _COMMUNICATIONS -CONSERVATION -ECONOMICS -EDUCATION _ENGINEERING _EXPLORATION _INDUSTRY INVENTION -LANDSCAPE ARCHITECTURE _RELIGION AW Gov't/Dolitics SCIENC UTERATUR _MILITARY _SOCIAL/HUMANITARIAN _MUSIC _PHILOSOPHY POLITICS/GOVERNMENT _TRANSPORTATION -_OTHER (SPECIFY) -_entertainment health _recreation _settlement _socio/cultural _urban & commun planning Claims "first" YES NO "'oldest'' YES NO "'only" YES NO ARCHITECTURAL STYLE: architect/m.builder: Y.
williamo Seal - 1890 landscape/garden designer: interior decorator: engineer: artist/artisan: builder/contractor: ETHNIC GROUP: NAMES: (label role & appropriate date) personal trea ttlland Day - ousufo whem houae remndeled, 1836 - Lilerang collecto, publishu, pohotograpte events institutional DATES: DATE OF CONSTRUCTION (Specific date or 1/4 of century): 1859 DATE (S) OF "MAJOR" ALTERATIONS: 1890 -93 HISTORICALLY SIGNIFICANT DATE (S) : SOURCE: (OF NOMINATION) PRIVATE STATE LOCAL GOV"T MUNICIPAL COUNTY OTHER FEDERAL 'AGENCY: ACREAGE: (to nearest tenth of an acre) .5 COMMENTS: (include architectural information here) Brick ist story, stuccoed frame upper stries with decoatine half timbering ; 2 %½ stories, modified rectangle, intersecting galled raf sectimo, exterio and interin chimnup, I pontand side sntrance poch with porte cochere extensin, casement and sash wundrus; 212- 3 % stry galelew, 2no Secont Empere carraige house; ouegenal 2la-story Secmd Empire dwelling axtensuely rebuilt to presence apprarance, 1890-3.
SIGNIFICANCE:(maximum two sentences) Example of ettauagant remodilleny effents durery late-19mC. home. Fred Holland Day anto collecteott meterial on teata, publihey , and job:togugptle Lon- arthy ceed. 1 oth- Wood ckson arlier ty act ; ven- began ich as was a Desert ivelyn iginal a leg- lures) teenth strong sippi] 1 Sun- judg- Day's ad no televi- ge for about DAY - 269 aging actresses. In 1962, the year of her last radio ap- pearance, she sang two songs in Coward's London production of Sail Away. Day died in London. - Reviews, programs, and other material relating to. Day's life and theatrical productions are on file in the Billy Rose Theatre Collection of the New York Public Library for the Performing Arts at Lincoln Center and at the Theatre Muse- um of the Victoria and Albert Museum, London.
Her British radio and television career is documented in the archives of the British Broadcasting System, London. Day's London re- cordings are available on World Records SH 138. Gerald Bordman, Days to Be Happy, Years to Be Sad (1982), relates Day's career to Vincent Youmans's. Ethan Mordden, way Babies (1983), places shows like Irene in their transitional context. A helpful obituary is in the Times (London), 3 May 1971. Odd Volumes, the Boston equivalent of New York's Grolier Club. Having determined in 1887 to extra-il- lustrate an edition of Balzac, Day decided to take up photography preparatory to a trip to Europe, where he would serve as foreign correspondent for the Norwood Review and take as many pictures relating to Balzac's life and novels as he could find.
Thus his literary inter- ests led directly to his pursuit of photography, with an eventual membership in the Boston Camera Club in was twenty-two ne met the womal ho-besides his domineering mother-would hav the strongest and most lasting influence on him. Lou- ise Imogen Guiney was a published poet who was the darling of the Boston literati, including such formida- ble figures as Oliver Wendell Holmes. Day and Gui- JAMES ROSS MOORE ney shared an obsession with John Keats. Through Guiney, Day entered into the circle of her godmother, DAY, F. Holland (23 July 1864 6 Nov. 1933), publish- Louise Chandler Moulton, who had established liter- er, photographer, and bibliophile, was born Fred Hol- ary salons in Boston and London. land Day in Norwood, Massachusetts, the son of Lew- Guiney was a devout Catholic, but, ignorant of what is Day, an industrialist, and Anna Smith.
The only was appropriate in photography, she pressured Day to child of wealthy parents, young Day was educated photograph saints and all things holy. He did take sev- largely by private tutors. The family split their time eral fine portraits of her posing as Saint Barbara. This between their Norwood house and an apartment in pursuit was interrupted by a trip to Europe in 1890 to Boston, at that time considered the Athens of Ameri- see the passion play at Oberammergau,an event that ca. At fifteen Day accompanied his mother to Denver, stirred his imagination so profoundly that in the next where she recuperated from a lung disease. It was in decade he would photograph himself as Christ on the Denver that he made his first sustained contact with a cross.
Many of these pictures were unfortunately of large colony of Chinese, and their art and material cul- negligible aesthetic interest, but his series called "The ture made a lasting impact on him. He began to draw Seven Last Words of Christ," using close-ups of his with Chinese inks and brushes and purchased many bearded face topped with a crown of thorns, created a Chinese artifacts; he remained fascinated by Oriental furor. The series was shown in England and France culture to his dying day. This fascination was abetted and was greeted with both admiration and shrill out- by the world-class Oriental collections at the Boston Day brought home from Europe something else that On returning from Denver at the age of sixteen, he entered Chauncy High School in Boston. Through friends there, he met many Harvard University stu- dents, including men like the art critic Bernard Beren- son.
In 1884 he graduated from Chauncy Hall, receiv- ing a special gold medal for "the best scholarship in English literature." He had become an enthusiastic bibliophile, with early interests in Honoré de Balzac and John Keats. In 1885 Day went to work for about a year at A. S. Barnes & Company, a Boston bookselling would create much controversy: the hitherto unpub- lished letters of Fanny Brawne, John Keats's sweet- heart, to his sister, Fanny Keats. He never succeeded in having these published, as the estate refused per- mission. Even Guiney, who had been instrumental in locating the letters, never saw them, and Amy Lowell, intent on writing a biography of Keats, could not per- suade Day to let her see these crucial manuscripts, which were expected to alter important details of Keats's life.
Despite frustration about the letters, Gui- ney joined Day in 1894 in establishing a memorial to Day's obsession with books led him to a practice Keats in a Hampstead church. known by Victorian bibliophiles as "extra-illustrat- Day's visits to Europe transformed him from a bib- ing,""extending," or "grangerizing" a book. This con- liophile into a passionate aesthete. Simultaneously, he sisted of collecting images in any graphic medium of became deeply interested in psychic phenomena, often people and places mentioned either as characters or as visiting the Society for Psychical Research in London. locations in both fiction and nonfiction. Since books In 1889 he had met a like-minded Harvard student, were then often published in unbound signatures, the Herbert Copeland, who became his partner in the aim was to bind up signatures and the extra illustra- publishing firm of Copeland and Day.
Copeland tions in a bibliophile's favorite morocco. Books thus brought Day into an exclusive Boston group called the bound vastly increased in value. Visionists, aesthetes and spiritualists all, including the Day eventually established a magnificent personal poet Bliss Carman, the architect Ralph Adams Cram, library, featuring a rare edition of Keats printed on the typographic genius Bruce Rogers, the printer vellum. He was highly respected among Boston bibli- Daniel Berkeley Updike, and only two female mem- ophiles, with whom he helped to found the Club of bers, Guiney and her writer friend Alice Brown. 270 - DAY The Visionists decorated the walls of their hideaway with Egyptian symbols and played at being high priests of Isis, obviously under the influence of Helena Blavatsky's enormously popular book, Isis Unveiled, first published in English in 1877.
Blavatsky's Theos- ophy was only one of many mystical systems that pur- veyed symbolism attractive to the fin-de-siècle "dec- adents," as they called themselves. (The term then referred to the decade of the 1890s.) Day joined several mystical societies and photographed the rituals in- The Visionists published two avant-garde maga- zines, The Knight Errant and The Mahogany Tree (1892-1894), in which the socialist and aesthetic ideol- ogies of William Morris were promulgated, along with reverence for Japanese art and culture. lasted only a few issues, but they remain important and rare. Day contributed reviews and notes of his personal acquaintance with Morris. In 1890, when Morris's influential Kelmscott Press was established, Day and Copeland decided to compete with him, and by 1893, the firm of Copeland and Day was in full op- eration.
Day had agreements with John Lane, publish- er of Oscar Wilde, and when Wilde's play Salomé was brought over, Boston was outraged, especially by Au- brey Beardsley's drawings. One of Day's major accomplishments was to revive the publication of poetry, including Stephen Crane's The Black Riders and Other Lines, William Butler Yeats's Poems, Francis Thompson's Sister Songs, and Morris Rosenfeld's Songs from the Ghetto, translated from the Yiddish. The format of Copeland and Day's books followed the prescriptions of the Arts and Crafts movement, and all their books manifested an integrity of design and utilitarianism seldom matched. Day did not neglect his photography during his publishing years. In fact, photography began to domi- nate his interests. Boston celebrities came to his Pinck- ney Street studio to have their portraits taken.
High praise came from the critic Sadakichi Hartmann: "There is no photographer who can pose the human body better than he... He has pushed lyricism in portraiture as far as it can be... Day is indisputably the most ambitious and accomplished of our American portrait photographers." It was a portrait that won him election in 1895 to the prestigious London-based Linked Ring Brotherhood, a group that rejected the sharp-focus bias of British photography and lauded all attempts to make photography the equal of the fine Day joined the Links one year after Alfred Stieglitz had been elected to its membership. Stieglitz was then New York's most important editor, critic, and photog- rapher. As editor of Camera Notes, Stieglitz gave Day's "Nubians" (some of the first sympathetic portraits of black Americans) the best reproductions in the very first issue.
Stieglitz also collected Day's prints, includ- ing "The Seven Last Words of Christ," and was out- spoken in his admiration. Day was perceived as a genius in the new art of photography, with the well-es- tablished society photographer Rudolf Eickemeyer writing Stieglitz that Day stood alone and unique among contemporary photographers. Day's most sen- sational picture, "Ebony and Ivory," of a nude black man holding a white miniature statue, inspired other photographers, like his friend Clarence White, to em- ulate the extraordinary range of tones Day had accom- plished In his search for models, Day occasionally found one among the poor immigrant children in the settle- ment houses of Boston. One of these was Kahlil Gib- ran, who, thanks to Day's support and goodwill, became his protégé; among other kind deeds, Day ar- ranged an exhibition of Gibran's drawings at Welles- ley College.
There seems to have been no homosexual attachment between Day and Gibran, but Day was ho- mosexual, as was his publishing partner, Copeland Day was discreet, but he managed to shock Boston once again with the first frontal male nude photograph ever displayed in that city. By 1899 Day had become one of America's most fa- mous photographers, and, as one of the two acknowl- edged leaders of the pictorialist movement, he was able to collect outstanding prints from White, Ger- trude Käsebier, and other art photographers. The idea of the pictorialists was that one did not merely take a picture; rather, one made a picture. Day urged Stieg- litz to join him in establishing an "American Associa- tion of Artistic Photography." Unfortunately, Stieglitz had no intention of sharing the reputation of a leader with Day.
His refusal forced Day to create his own en- tity, "The New School of American Photography." He took approximately 300 pictorialist prints to London for exhibition at the Royal Photographic Society in 1899-1900. Stieglitz was furious that Day had thus es- tablished himself as the leader of the new movement, and he wrote scurrilous letters to the English groups denouncing Day's selections as inferior, poor, second- rate prints. The rising young photographer Edward Steichen, who felt honored to be included in Day's ex- hibition, defended Day and denounced Stieglitz's mis- representations. One of the unfortunate outcomes of this quarrel was the refusal of Day to permit Stieglitz to reproduce his works in his new journal, Camera Work, begun in 1903.
Day therefore was absent from what turned out to be the most important photographic journal of the pictorialist movement, and his absence denied him the later recognition his friends received. Although Day continued to exhibit in Europe, his American influ- ence was diminished. The crowning blow was the 1904 fire that destroyed his Boston studio and many original works as well as his collection of Japanese prints and artifacts. In 1904 or 1905, Day decided to buy Guiney's prop- erty in Maine, at Little Good Harbor on the then rela- tively underdeveloped Georgetown Island. He built a mansion there for summer living and frequently enter- tained Clarence White's family until White purchased his own property at Seguinland, a few miles away, where he founded an influential art school. Day was exceptionally generous to the White family, even sup- porting versity.
Day's decade c ther dea returned kept up but he h holism, horticul1 without ite medi and vailable death, h also out scurity. Käsebie Congres - Manus at the Nc brary of and the ] Universil letters fro Joe W: (1893-18 cations", also Hyc Keats an Louis Ar Day was catalog fi um. The Slave to F. Holl The Lor lished a : ited by 1 wrote se Photogra DAY,I tect, wE of Chai and An Day tra before ( Scientif 1879.F valedici there h (1884), tural A Walter neys; t revival materiz rope, v ment a: unique iost sen- le black ed other :; to em- 1 accom- y found le settle- hlil Gib- ;oodwill, , Day ar- t Welles- nosexual ; was ho- opeland.
< Boston otograph i most fa- acknowl- , he was lite, Ger- The idea ely take a jed Stieg- 1 Associa- ; Stieglitz f a leader s own en- aphy." He o London Society in id thus es- lovement, sh groups r, second- :r Edward 1 Day's ex- glitz's mis- uarrel was roduce his begun in turned out rnal of the ed him the 1ough Day ican influ- w was the and many if Japanese ney's prop- e then rela- He built a ently enter- : purchased niles away, )l. Day was y, even sup- porting White's son, Maynard, through Brown Uni- Day's publishing ventures petered out in the first decade of the twentieth century. In 1917, with his fa- ther dead and an ailing mother requiring his help, he returned to Norwood and literally took to his bed. He kept up with his friends with copious letter writing, but he had no lovers, and Copeland, a victim of alco- holism, died in 1923.
Devoting himself to the study of horticulture and genealogy, Day passed his last years without the solace of his art of photography. His favor- ite medium had been gum bichromate over platinum, and with the First World War, platinum became una- vailable. The loss was irremediable. By the time of his death, his love of classical themes and symbolism was also out of fashion. Day faded into an undeserved ob- scurity. Following the lead of his friends White and Käsebier, Day left his photographs to the Library of - Manuscript sources include the archives of F. Holland Day at the Norwood Historical Society, Norwood, Mass.; the Li- brary of Congress, which holds letters from Guiney to Day; and the Beinecke Rare Book and Manuscript Library, Yale University, which owns the archives of Alfred Stieglitz, with letters from Day.
Joe Walker Kraus wrote "A History of Copeland & Day (1893-1899) with a Bibliographical Checklist of Their Publi- cations" (master's thesis, Univ. of Illinois-Urbana, 1941). See also Hyder Edward Rollins and Stephen Maxfield Parrish, Keats and the Bostonians: Amy Lowell, Louise Imogen Guiney, Louis Arthur Holman, Fred Holland Day (1951). Interest in Day was revived in 1975 by Ellen Fritz Clattenburg in her catalog for the Day exhibition at the Wellesley College Muse- um. There followed Estelle Jussim's definitive biography, Slave to Beauty: The Eccentric Life and Controversial Career of F. Holland Day, Photographer, Publisher, Aesthete (1981). The London scholarly journal History of Photography pub- lished a special issue devoted entirely to F. Holland Day, ed- ited by Verna Curtis of the Library of Congress (1994).
Day wrote several articles for Camera Notes, the British Journal of Photography, and the American Annual of Photography. ESTELLE JUSSIM DAY, Frank Miles (5 Apr. 1861-15 June 1918), archi- tect, was born in Philadelphia, Pennsylvania, the son of Charles Miles Day, an immigrant English tailor, and Anna Rebecca, a Philadelphia native. As a child Day traveled in America and Europe with his family before entering the architecture program of the Towne Scientific School of the University of Pennsylvania in 1879. He graduated in 1883, having been president and valedictorian of his class, and left for England. While there he attended the South Kensington School of Art (1884), the Royal Academy (1885), and the Architec- tural Association (1885).
He also joined the atelier of Walter Millard and apprenticed under Basil Champ- neys; both architects were participants in the Gothic revival who drew Day's attention to craftsmanship and materials. Day also traveled through continental Eu- rope, where he was particularly attracted to the orna- ment and work of the early Renaissance. DAY - 271 Returning to Philadelphia in 1886, Day worked as a draftsman for George T. Pearson and Addison Hut- ton. In late 1887 he opened his own firm and main- tained an active practice that included residential, commercial, ecclesiastical, and collegiate work. Day's brother joined him as a financial manager in 1892, and in 1893 they adopted the name Frank Miles Day & Brother; in 1911 Day made his assistant Charles Klauder a partner, and in 1912 the firm went by Day & Klauder.
Described as a "creative eclectic," Day produced designs that relied on a free interpretation of historical styles. He drew on medieval and early Ren- aissance styles, but he was also drawn to American co- lonial and Georgian architecture. For Day, however, ... style ... [was] not an affair of archeology but an abstract quality, a subtle excellence very hard to de- fine" (Choosing a Style for the House," Inexpensive Homes of Individuality, 1912). He emphatically stated that the plan, material, site, and function of a building should determine the design.
His own work subtly fused refined ornament with picturesque massing Day's notable early commissions include the Phila- delphia Art Club (1888), Horticultural Hall (1894), and the Charles Bergner (1892) and Clement Newbold (1897) residences (both illustrated in Stately Homes in America, 1903); and he collaborated on the Free Muse- um of Science and Art (1893). After 1900 Day gained a reputation for campus planning and design. With the completion of athletic facilities for the University of Pennsylvania (1902), Day went on to design buildings for Princeton (1908), Cornell (1913), Pennsylvania State (1914), and the University of Colorado (1917); he also provided plans for Wellesley College (1916) and the University of Delaware (1915-1916).
While the work for Penn State used classical sources and Col- orado used Italianate, Day's work at the other schools made him a leader in collegiate Gothic. The Princeton buildings received praise from Ralph Adams Cram and the American Institute of Architecture Gold Med- al (1918). Day's respect for historical styles made him an early contributor to historic preservation - perhaps most notably, he chaired the committee on the restora- tion of the Octagon, the AIA's headquarters in Wash- Day's commitment to the professionalization of ar- chitecture went beyond his own practice to his in- volvement with a number of organizations: he became an active member of the T-Square Club in 1886 (serv- ing as vice president in 1889 and 1890) and he taught courses at the Pennsylvania Academy of the Fine Arts, the University of Pennsylvania, and in 1906 at Har- vard.
His belief in the value of foreign study for archi- tects resulted in becoming a trustee (from 1905) and director (1909) of the American Academy in Rome. His election to the Philadelphia Chapter of the AIA in 1887 began an association that included becoming a fellow and member of the board of directors (1895) and culminated in his presidency of the national AIA in 1906-1907. Under Day the AIA established com- mittees on the regulation of competitions and licensing of architects and brought in a legal adviser.
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