1. Charles Gambril and H. H. Richardson, Descriptive Report and Schedule for Proposed Capital Building of the State of Connecticut, Department of Legislative Research, Connecticut General Assembly, 1872; quoted in Henry-Russell Hitchcock and William Seale, Temples of Democracy The State Capitols of the USA (New York: Harcourt Brace Jovanovich, 1976), 161.
2. As Ross Posnock has written of the aesthetic leaning of one of William James’ most devoted students, W. E. B. Du Bois, art and aesthetics in Europe and Africa helped to instruct all the Cosmopolitans about the possibility of change in America. See Ross Posnock, “The Distinction of Du Bois: Aesthetics, Pragmatism, Politics,” American Literary History 7 (1995): 502, 512. For scholarship that argues for the increasing collusion between high art and elitism in nineteenth-century American art, see sociologist Paul DiMaggio, “Cultural Entrepreneurship in Nineteenth-Century Boston: The Creation of an Organizational Base for High Culture in America,” Media, Culture and Society 4 (1982): 33–50, and “Cultural Entrepreneurship in Nineteenth-Century Boston, Part II: The Classification and Framing of American Art,” Media, Culture and Society 4 (1982): 303–22. See historians Kenneth L. Kusmer, “The Social History of Cultural Institutions: The Upper-Class Connection,” Journal of Interdisciplinary History 10 (1979): 137–46; and especially Lawrence W. Levine, Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America (Cambridge, MA: Harvard University Press, 1988).
3. James F. O’Gorman has often pointed out that H. H. Richardson’s architecture was no mere aping of European styles. See James F. O’Gormon, “Then and Now: A Note on the Contrasting Architecture of H. H. Richardson and Frank Furness,” in H. H. Richardson: The Architect, His Peers, and Their Era, ed. Maureen Meister (Cambridge, MA: MIT Press, 1999), 84–85. For Mumford’s views, see Lewis Mumford, Sticks andStones: A Study of American Architecture and Civilization (New York: Dover, 1955), 46.
4. In his work on nineteenth-century Chicago, Daniel Bluestone makes a similar argument about Chicago. See Daniel Bluestone, Constructing Chicago (New Haven, CT: Yale University Press, 1991), 1–3. See also ibid., 21–22, 207.
5. John La Farge, An Artist’s Letters from Japan (New York: Da Capo Press, 1970), 145–47.