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UNIVERSITY OF MARY WASHINGTON
DEPARTMENT OF HISTORIC PRESERVATION

HISP 310: THE DECORATIVE ARTS
Spring 2006
Writing Intensive

John Pearce
MWF 2:00 - 2:50
Combs 112

This course is an introduction to the study of the decorative arts with emphasis on the furniture styles of, and decorative arts objects used in, the American colonies and the USA from the seventeenth century to the present.  It also examines aspects of European and Asiatic background to the study of the decorative arts in America.  The course devotes special emphasis to:

--definitions of "the decorative arts"--and relationships to definitions of "material culture" and "household furnishings"
--sources of data about and methods of study of the decorative arts and of the interpretation of their use in groups, in and around structures
--intensive "reading" of paintings, drawings, prints, photographs and other documents related to the study of the decorative arts, and interpretation of them as social history
--the utility of style names, and learning the basic furniture style names, dates and characteristics
--comparison of decorative arts style names with those developed for and used in the study of North American architecture
--the development of "interior decoration," viewed as a part of decorative arts history
--advanced study of the decorative arts, and careers related thereto

In the course, texts, lectures, discussions, library research, a commentary on Chippendale, a paper proposal and the paper itself are augmented with required field trips to the Special Collections at Simpson Library and to a private collection of decorative arts.  You also should test your growing understanding by visiting on your own the decorative arts and material culture collections at many museums and historic sites in and near Fredericksburg, as well as in other places as you travel, and by looking through issues of The Magazine Antiques (often cited just as Antiques1).

    1The Magazine Antiques began publication in 1922; Simpson’s holdings begin with 1953 and are on microfilm for 1953-1974, microfiche 1975-2003, current issues now on shelf.  You will often find copies of back issues for sale for a dollar or so–you might want to buy one or two as “pleasant companions” to your study.                                                                   

This course is open to all interested students of the College, and has no prerequisites.  It is one of the elective courses in the major in Historic Preservation.  It is writing intensive.  It is also appropriate as part of the preparation for a student who intends to propose a Senior Research Project and/or an Honors paper on a topic related to the decorative arts and/or material culture studies.

ACCESS

The Office of Disability Services has been designated by the University of Mary Washington as the primary office to guide, counsel, and assist students with disabilities.  If you receive services through this office and require accommodation for this class, please make an appointment with me as soon as possible to discuss your approved accommodations.  I will hold any information you share with me in strictest confidence unless you give me permission to do otherwise.  If you have not made contact with the Office of Disability Services and have reasonable accommodation needs, I will be happy to help you to contact that office.  (The office will require appropriate documentation of a disability.)  (Office of Disability Services: 209 George Washington Hall; 540 654-1266; <ods@umw.edu>)

COURSE REQUIREMENTS:

HONOR SYSTEM
The Honor System is the basis for our life at the University of Mary Washington–our academic life, our personal life, our community life.  By it we pledge that we will not lie, cheat or steal–in academic work or in any part of life–as part of our ethical commitment for ourselves and to each other.  In academic work, we specifically pledge that we will not plagiarize, that is, we will not use other people's ideas or publications without giving full scholarly credit.  Thus we use footnotes or endnotes not only for direct quotations but for any information or idea we use from the work of others, whether a writer of a book or another member of the class.

TEXTS
The following are required and are available in the College Bookstore:

Butler, Joseph T., in collaboration with Kathleen Eagen Johnson.  Field Guide to American Antique Furniture.  Illustrations by Ray Skibinski.  A Roundtable Press Book.  An Owl Book.  New York: Henry Holt and Company, [1985].

Chippendale, Thomas. The Gentleman & Cabinet-Maker's Director, 3rd ed.  London: [Thomas Chippendale], 1762; reprint ed., New York: Dover Publications, Inc., [1966].

Naeve, Milo M. Identifying American Furniture, A Pictorial Guide to Styles and Terms, Colonial to Contemporary, 3rd ed., rev. and expanded.  Walnut Creek, CA: AltaMira Press, A Division of Sage Publications, Inc., distributed by W. W. Norton & Company, New York, published in cooperation with the American Association for State and Local History, [1998].

The following is required and will be available online for you to download:

Pearce, John N. American Furniture Style Characteristics with Selected Bibliography, 4th ed., rev. and enlarged.  Fredericksburg, VA: Department of Historic Preservation, University of Mary Washington, 2006.

The following are required and are available online for you to download:

“The Great Exhibition” [Crystal Palace exterior and overall].  Available from
                        http://www.st-andrews.ac.uk/~city19c/viccity/crystal1.html

“Crystal Palace Interior.” Available from
                        http://www.st-andrews.ac.uk/~city19c/viccity/crystal2.html

Students must bring assigned reading materials to class.

PAPER PROPOSAL, PAPER, AND ORAL REPORT (Proposal, 10% of grade; Paper, 25%; Oral Report, 5%)
Each student is to write a term paper of at least six pages (plus illustrations, if used, appendices, if used, and notes and bibliography) on a research question and/or thesis of his or her choosing.  The question or thesis may lead to research about the history and interpretation of one or more examples of the decorative arts, or it may lead to extensive library research related to broader issues discussed in class and/or in the readings.  Hand in a proposal of about three pages by the beginning of class on Friday, February 24.  In describing your research plan, you are to list at least two books, two journal articles and two Internet sources.  Note that, even if you describe the source in the text, you must also identify it properly in a footnote or endnote, and list it in a bibliography.  Note also that I will not accept a proposal or paper which uses only Internet sources.  Hand in the paper by the beginning of class on Wednesday, April 12.  See the appendix, pages 12-13 for additional information concerning the paper proposal and paper and their "style."  You will also have a graded oral report on your paper (5% of grade; April 24 and 26).

COMMENTARY ON CHIPPENDALE’S DIRECTOR (5% of grade)
You are to write a  “Commentary” of about three or four pages as you study The Gentleman & Cabinet-Maker’s Director by Thomas Chippendale for classes on Wednesday, February 1 and Friday, February 3.  Bring the Commentary to class on each of those days, as I will ask you to read from it to the class.  Hand in this “Commentary” at the end of class on Friday, February 3.  The “Commentary” is to be word-processed like a paper, including footnotes or endnotes and bibliography (which will, of course, include Chippendale’s Director, but also should include references to our other texts, or other works you might choose to consult).  The “Commentary” should include a) an overall comment on the type of publication (“design book”), b) a comment on the link between the content of Plates I-VIII and their commentary as that content relates to the content of Plates IX-CC and their commentary (i.e., relationship of architectural standards to furniture designs), and c) your comment or comments on the most interesting or surprising thing you learned about Chippendale’s furniture designs by your study of the book.

GRADING DOWN FOR LATENESS AND/OR EXCESSIVE ERRORS
A paper handed in later than the start of class on the due date will be graded down by one letter grade (ten points).  A paper with an average of more than two errors per page, in spelling, grammar or style, will be graded down one letter grade (ten points).  Students may arrange individual conferences with me, by appointment, for review of drafts, prior to the due date; errors corrected in such conferences are not counted.

COMPUTER PROBLEMS
When completing assignments, students are expected to allow sufficient time for computer-related problems, including printing.  However, every student in the course is allotted one computer “freebie” for the semester with respect to late assignments.  This “freebie” will constitute an exception to the late assignments policy stated above, provided that the student notifies the instructor before class, pledges that there was a computer problem and turns the assignment in within 24 hours.

CLASSROOM BEHAVIOR; CELL PHONES AND PAGERS
Every student is expected to be respectful and attentive when other students are making comments or asking questions.  In order to maintain an atmosphere that is conducive to learning and participation, rude and disruptive behavior will not be tolerated.  Additionally, while the instructor encourages class participation from everyone, students with a tendency to be outspoken are asked to keep their participation to a reasonable level so they do not monopolize class time.  Out of respect for all students and the instructor, cell phones and pages must be turned off during the time that class is in session.  If you expect an emergency call, please ask that it be telephoned to the main number (654-1041) where administrative assistant Sharon Hale will see that a message reaches you.

CLASS PARTICIPATION (5%)
In addition to oral reports on Chippendale and on your paper, you are expected to participate in class discussions, and you are invited to bring in items of “News From the Front”–newspaper or magazine items illuminating present-day study, enjoyment and cultural roles of the decorative arts.

TEST AND FINAL EXAM (25% each)
There will be a mid-semester test, on Wednesday, March 1, and there will be a final examination on Monday, May 1, 3:30 - 6:00 p.m.

COMPLETION OF ALL ASSIGNMENTS IS REQUIRED
To complete the course you must complete all assignments:  paper proposal,  journal and oral report on Chippendale’s Director, paper and oral report on it, mid-semester test and final examination.  Failure to complete all assignments will result in a grade of "F" (failure) for the course.

FINAL GRADE COMPUTATION; USE OF NUMERICAL COMPUTATIONS
In computing your final grade, the “Commentary” on Chippendale’s Director will count 5%, the paper proposal will count 10%, the mid-semester test 25%, the paper 25%, the oral report on the paper 5%, class participation 5%, and the final examination 25%.  Letter grade descriptions and quality point conversions quoted below are taken from the Academic Catalogue.  This and the Dictionary of Academic Regulations should be consulted for further explanation of these and all other grading details and other academic regulations.  When numerical grades are used in computation, I use the following equivalents:
below 60        F          0.00 quality points
60-66             D         1.00 quality points
67-69             D+       1.30 quality points
70-72             C-        1.70 quality points
73-76             C         2.00 quality points
77-79             C+       2.30 quality points
80-82             B-        2.70 quality points
87-89             B+       3.30 quality points
90-93             A-        3.70 quality points
94-100           A         4.00 quality points

PORTFOLIO
In Historic Preservation, we recommend that you maintain a Portfolio, for work products of particular quality, to take with you when you graduate.  I recommend that you print an extra copy of your term paper to keep in your Portfolio.

OFFICE HOURS, TELEPHONE AND FAX NUMBERS, E-MAIL
Set office hours:  TR 3:15-5:30, W 3-3:30 at Combs 132.  Other office meetings by appointment at my Combs office or at the James Monroe Museum, 908 Charles Street (I am usually at the James Monroe Museum mornings and at my Combs office afternoons).  Combs telephone (540) 654-1311; fax (540) 654-1068; James Monroe Museum, (540) 654-2112; fax (540) 654-1106.  All numbers are on the college exchange; use only last four numbers when calling from another college phone.  Both voice numbers have voicemail.  GroupWise or e-mail:  you can contact me–on campus: <jpearce>;–from elsewhere: <jpearce@umw.edu>.  Home phone (540) 373-0125.

THINKING ABOUT FURTHER WORK IN THE DECORATIVE ARTS
We will discuss many aspects of professional development during this course, and I urge you:

-to consider an internship in a museum with decorative arts collections

-to begin now to write a good resume, and

-to work hard to create a fine professional Portfolio.

All faculty members are ready to help you--just ask!


HISP 310:  THE DECORATIVE ARTS
SCHEDULE OF CLASS MEETINGS, TOPICS AND ASSIGNMENTS

This class schedule tells you how we will deal with our discussion of the decorative arts.  I reserve the right to alter the topic of any lecture, but the test date and due dates for the paper proposal and paper will not be changed, unless mutually agreed to by professor and students.  The final examination date and hour are set by the Dean's Office.

NOTES:
STYLE NAMES IN CAPITALS ARE THOSE WHICH THE STUDENT MUST BE ABLE TO IDENTIFY.  For instance, in the "identification of styles from slides" portion of the test or examination, the complete answer will include the style name as listed here, the dates as listed here, and two significant characteristics you see in the slide illustration, which cause you to make your identification of the style. Please note that the name and dates used here may be different from the similar name and dates used by either or both of our texts.

1.   Monday, January 16          What are "the decorative arts"?  Why study them?

2.   Wednesday, January 18   How to study "the anatomy of furniture"; How to study "the origins of American furniture"; What do we mean by "style"?
Required reading:  Butler, Field Guide, through 13, 17-19, 366-377.

3.    Friday, January 20             THE SPANISH COLONIAL STYLE (1560-1850) and THE FRENCH COLONIAL STYLE (1604-1867)
Required reading: Naeve, Identifying, 72-73; Pearce, Characteristics, 2-4.

4.    Monday, January 23          THE SEVENTEENTH CENTURY STYLE (1607-1700)
Required reading:  Butler, Field Guide, 20-24, 90-91, 156-157, 202, 220, 252-253, 262; Naeve, Identifying, 12-17; Pearce, Characteristics, 4-5.

5.    Wednesday, January 25   THE WILLIAM AND MARY STYLE (1700-1725)
Required reading:  Butler, Field Guide, 25-27, 92-94, 158-160, 221, 254, 263-266, 320, 348; Naeve, Identifying, 18-19; Pearce, Characteristics, 6-7.

6.     Friday, January 27             THE QUEEN ANNE STYLE (1725-1755)
Required reading:  Butler, Field Guide, 28-34, 95-104, 161-165, 203, 222-223, 267-272, 321-322, 349; Naeve, Identifying, 20-21, 74 #181; Pearce, Characteristics, 7-8.

7. Monday, January 30          THE CHIPPENDALE STYLE (1755-1780)
Required reading:  Butler, Field Guide, 35-43, 105-116, 166-171, 204-205, 224-226, 255, 273-282, 323-328, 350-351; Naeve, Identifying, 22-23, 4 #182; Pearce, Characteristics, 9-10.                                                                                                                                          

8.    Wednesday, February 1   An introduction to The Gentleman & Cabinet-Maker's Director by Thomas Chippendale
Required reading:  Chippendale, Director, back cover, beginning through (3) top, dedication page [opposite page (20)], Plates I-VIII.  Bring your Journal to class as, at this and the next class, I will ask each of you to read an entry from your commentary on the study of Chippendale.

9.     Friday, February 3              Chippendale's designs; Thomas Chippendale and "Chippendale" furniture in Britain and North America
Required reading:  Chippendale, Director, Plates IX-CC; last 21 pages.

          At the end of class hand in your word-processed “Journal” on your reading of Chippendale’s Director.

10.   Monday, February 6          THE WINDSOR STYLE (1730-1830)
Required reading:  Butler, Field Guide, 44-45, 117-121, 206, 227-228; Naeve, Identifying, 80-81; Pearce, Characteristics, 10-11.

11.   Wednesday, February 8   THE GERMANIC STYLE (1750-1800)
Required reading:  Butler, Field Guide, 46-47, 122-123, 172, 229, 256-257, 283-286, 329, 352; Naeve, Identifying, 70-71; Pearce, Characteristics, 11-12.
After class, possibly:  a visit to a clock.

12.   Friday, February 10           The Diderot Encyclopedia and understanding eighteenth-century furniture making
Meet at the Special Collections department, Simpson Library (2nd floor).

13.  Monday, February 13        Other North American and Atlantic island furniture of the period 1755-1780

14.   Wednesday, February 15 TBA

15.  Friday, February 17           New influences on furniture design; the documentation of interiors before photography
                 Required reading:  Butler, Field Guide, 48-52.

16.  Monday, February 20        Regional furniture–a visit to a private collection

17.  Wednesday, February 22 THE FEDERAL STYLE (1780-1820)
Required reading:  Butler, Field Guide, 53-58, 124-131, 173-181, 207-208, 230-234, 258, 287-294, 330-335, 354-355; Naeve, Identifying, 24-29, 76 #186; Pearce, Characteristics, 12-13.

18.   Friday, February 24           THE EMPIRE STYLE (1820-1840)
Required reading:  Butler, Field Guide, 59-61, 132-135, 182-185, 209, 235-238, 295-296, 336-337, 356; Naeve, Identifying, 30-31; Pearce, Characteristics, 13-15.

Hand in: proposal for the term paper.

19.   Monday, February 27        THE RESTAURATION STYLE (1835-1850)
Required reading:  Butler, Field Guide, 62-63, 136-137, 186-187, 210, 239-240, 297-298, 338, 357; Naeve, Identifying, 32-33; Pearce, Characteristics, 15-16.

20.   Wednesday, March 1         Mid-semester test

21.  Friday, March 3       The styles of a lifetime:  objects owned by James and Elizabeth Monroe

Mid-semester break begins at 5 p.m. on Friday, March 3 and ends at 8 a.m. on Monday, March 13.

22.   Monday, March 13              THE SHAKER STYLE (1820-1910)
Required reading:  Butler, Field Guide, 64, 138-139, 188-189, 211-212, 241, 258, 299-302, 339-340, 358; Naeve, Identifying, 78-79; Pearce, Characteristics, 17-18.

23.  Wednesday, March 15      THE GOTHIC REVIVAL STYLE, 1, “GOTHIC” (1825-1865)
Required reading:  Butler, Field Guide, 65-67, 140 #1-6, 190, 213 #1, 303 #1-2, 341; Naeve, Identifying, 34-35; Pearce, Characteristics, 18.

Friday, March 17          THE GOTHIC REVIVAL STYLE, 2, “ELIZABETHAN” AND OTHER “RELATIVES,”  (1825-1865)
Required reading:  Butler, Field Guide, 68, 140 #7-9, 213 #2, 303 #3; Naeve, Identifying, 36-37; Pearce, Characteristics, 19.

25.  Monday, March 20              THE ROCOCO REVIVAL STYLE (1845-1900)
Required reading:  Butler, Field Guide, 69-72, 141-142, 191, 214, 242-243, 304-306, 342, 359-360; Naeve, Identifying, 38-41; Pearce, Characteristics, 19-21.

26.  Wednesday, March 22      Downing, the Crystal Palace, and Morris--the panoply of styles at the mid-century--and thinking about them

27.  Friday, March 24                 THE LOUIS XVI REVIVAL STYLE (1860-1890)
                               Required reading:  Butler, Field Guide, 73, 142, 191, 243, 306; Naeve, Identifying, 42-43; Pearce, Characteristics, 21.

28.   Monday, March 27              Not a single style: Characteristics associated with several styles; innovation, design reform, the exotic and the eclectic, 1800-1930
Required reading:  Butler, Field Guide, 78-82, 146-148, 194, 215 bottom, 246, 311 bottom, 343, 361 bottom; Naeve, Identifying, 76 #187, #188. 82-83; Pearce, Characteristics, 22.

29.   Wednesday, March 29      THE RENAISSANCE REVIVAL STYLE (1860-1885) (including the Victorian Renaissance or Neo-Grec Style and the Egyptian Revival Style)
Required reading:  Butler, Field Guide, 74-76, 143-144, 145 top,  192-193, 215 top, 244, 307-310, 342 bottom, 360 bottom, 361 top; Naeve, Identifying, 44-49; Pearce, Characteristics, 22-24.

30.   Friday, March 31                 EARLY DESIGN REFORM (1870-1890) (including the Reformed Gothic or Eastlake Style, early "Art" styles, and Japanese-influenced styles)
Required reading:  Butler, Field Guide, 83-87, 149-150, 195-196, 216, 247, 312-314, 344, 362; Naeve, Identifying, 50-53; Pearce, Characteristics, 24-25.

31.   Monday, April 3                   THE COLONIAL REVIVAL STYLE (1875-1910)
Required reading:  Butler, Field Guide, 77, 145 bottom, 245 bottom, 311 top; Pearce, Characteristics, 26.

32.   Wednesday, April 5            Recreating the Comegys Library

33.   Friday, April 7                      The lessons of Lyndhurst

34.   Monday, April 10                 THE ARTS AND CRAFTS STYLE (1885-1915)
                     Required reading:  Butler, Field Guide, 85-87, 151-152,197-198, 217, 248, 315-316, 345, 363; Naeve, Identifying, 56-57; Pearce, Characteristics, 27.

35.   Wednesday, April 12         THE ART NOUVEAU STYLE (1896-1914)
Required reading:  Butler, Field Guide, 85, 151 #1; Naeve, Identifying, 54-55; Pearce, Characteristics, 28.

                Hand in term paper by the beginning of class.

36.   Friday, April 14                    FRANK LLOYD WRIGHT'S STYLE (1880-1959)
including the Prairie School Style
                     Required reading:  Naeve, Identifying, 58-59; Pearce, Characteristics, 29-30.

37.   Monday, April 17                 THE ART DECO STYLE (1925-1945)
                    Required reading:  Naeve, Identifying, 60-61; Pearce, Characteristics, 30-31.

38.   Wednesday, April 19         THE INTERNATIONAL STYLE (1929-PRESENT)
Required reading:  Butler, Field Guide, 87; Naeve, Identifying, 62-63; Pearce, Characteristics, 31-32.

39.   Friday, April 21                    CRAFTSMAN STYLES (1945-PRESENT);
CONTEMPORARY STYLES (1945-PRESENT); eclecticism in a new millennium
                  Required reading:  Naeve, Identifying, 64-67; Pearce, Characteristics, 32-33.

40.   Monday, April 24                 Oral reports, part 1

41.   Wednesday, April 26         Oral reports, part 2

43.   Friday, April 28                    Review–final class

Reading Days, Saturday-Sunday, April 29, 30

Final Examination, Monday, May 1, 3:30-6:00 p.m.

APPENDIX:  DETAILS CONCERNING THE PROPOSAL AND THE PAPER

Note:  All directions pertaining to "the paper" also pertain to the paper proposal.

The paper is not a "book report"

The paper is not a book report, but rather a reasoned explication of your question or thesis about:

--an aspect of the decorative arts

--your research to pursue the question or thesis, and

--your findings.

Your work on the paper (and its prior proposal) is intended to give you an opportunity to:

--identify a question (or "thesis") about an aspect of the decorative arts

--design a research plan (including bibliography) to help you answer the question (and/or support your "thesis")

--carry out the research plan, and

--write a clear, elegant, lucid paper of at least six pages, plus illustrations (if any), appendixes (if any), notes and bibliography

Research

The art and craft of research is at the core of your preparation of the paper proposal and your completion of the paper itself.  I suggest you visit the subjects covered in “Doing Research”on the Simpson Library home page <http://www.library.umw.edu>.  I have appended a valuable bibliography of books in Simpson Library to American Furniture Style Characteristics (marking those which I have placed on Reserve).  In decorative arts research you will often need to search journal and periodical literature, as newer ideas and research findings are often available in such publications years before they show up in books.  The Reference Department at Simpson Library has some excellent indices to such journal and periodical literature, and the staff of the Reference Desk will assist you.

Format and Style

By the "style" of papers we mean both the way they “look” and the specifics of their scholarly presentation.  The standard for the Department of Historic Preservation is the Chicago Manual of Style, most easily available in one of the Turabian manuals developed from it.  The only departmental deviation from the CMS/Turabian style is that concerning number placement on the page: choose one location and use it consistently.

I add the requirement that you are not to use right margin justification.                                                                                             

Please note that there are some differences between the Harbrace College Handbook used by the Writing Center and the department standard of the Chicago Manual of Style and Turabian publications–a recent one of which is:.

             Turabian, Kate L.  A Manual for Writers of Term Papers, Theses and Dissertations, 6th ed., rev. by John Grossman and Alice Bennett.  Chicago:  The University of Chicago Press, 1996.

This Manual is available in the University Bookstore and I recommend that you consider buying a copy to keep with you for ready reference as you write your papers.

Illustrations often improve a paper (and its grade), but are not counted toward the required six pages of writing; the note that illustrations used must follow the Chicago Manual of Style/Turabian format, including indication of sources with the illustrations and in the bibliography.

Voice and tone: you are not having a conversation with the professor!

In writing any proposal or paper, you should not think of yourself as having a conversation with me, but rather think of yourself as writing for the use of another scholar, at a distance, perhaps your colleague in Australia who is taking an American Studies course for which your paper will be an illuminating source.  To make everything clear to such a colleague, you need to use footnotes or endnotes to identify the sources not just of quotations, but of all ideas or information provided by books, periodicals, works in any medium (for instance, television documentaries, electronic documents or e-mail) or people.  Even if you refer to the source in the text, it also requires the formality of a footnote or endnote.  The bibliography must include every source referred to in a footnote or endnote.  For this course each bibliography must also include the listing of the style manual which you have used.

Unmarked copies for your Portfolio or other file

If you want to have an unmarked copy of any work for your Portfolio file, make such a copy before handing in the work, as I will mark directly on the copy you give me.