Articles by Douglass Shand-Tucci
Bohemian Back Bay was as key to Copley Square as aristocratic Back Bay and black artist models figured not only in Sargent’s work, but in Fred Holland Day’s too.
A startling triptych illuminates the crossroads of social, racial, and sexual identity in the Copley Square of a century ago, as “The Gods of Copley Square” continues
“The Gods of Copley Square”s spirited multi-part examination of Boston’s Trinity Church (and its indomitable bishop-saint) comes to its conclusion right where it should: at the heart of worship
Lost to history, here re-discovered, Trinity Chancel –“a daring enterprise in its day, as original an expression and as unique as was the genius of the American people.”
A rumor of Narnia at Trinity Church prompts two questions. Can a building have a spiritual life? Can a work of art not? Phillips Brooks and the idea of ecstasy
“Truth is Catholic, but the search for it is Protestant,” quoth W.H. Auden, and this month Phillips Brooks is at Lourdes, of all places, his liking for which can only be explained by his experiences at Benares.
“Perhaps a little drunk might answer” was Phillips Brooks’s idea of how to view Pre-Raphaelite art, several masterpieces of which he commissioned for Trinity Church. “Centerpiece” continues.
Henry Adams on the road to Chartres, Phillips Brooks on the Madonna of the prairie, and John La Farge on why he worried Trinity Church had “no heart” — The Gods of Copley Square continues
Byzantium rediscovered. An American in Venice and a forgotten Madonna (which breaks the rules) in Copley Square. Behold an American Hagia Sophia
HH Richardson waxing, Louis Sullivan watching: America’s first school of architecture at MIT. To science and technology add art and religion, and immigrants sculpting the sister of the Statue of Liberty.
Boston’s iconic Copley Square – with its Trinity Church and its Public Library – is a present-day tourist hotspot, but those visitors hardly suspect the deep and rich history of the area. American Aristocracy continues.
Intertwining through Boston history: the rich, implacable music of Beethoven and the flinty austerity of the Boston Granite style of architecture – trace the connections, as American Aristocracy continues.
The clash between Brahmin liberalism and the legacy of slave-trading focuses on a monument to the men who redeemed a city and ransomed a nation. “American Aristocracy” continues.
To the quintessential virtues the Puritans lent to a fledgling republic – globality, philantropy, and autonomy – the ‘speaking aristocracy’ of the Boston Brahmins added one more: the love of learning
Boston without Brahmins, like Vienna without Jews, frames shifting capitoline visions, visions much more in the spirit than most realize of Oliver Wendell Holmes Sr., who actually wrote: ‘It dwarfs the mind to feed it on any localism.’
Boston, so often reproved for living in its memories, may well be poised to lead the future, not in spite of its history but because of it.