By Theodora Kroeber
Frontis. + xi + 292 pp. with quite a few illus., eightvo.
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Extra resources for Alfred Kroeber: A Personal Configuration
We have already seen that many other artists produced variations on this image. In some versions the image maker represented the building as having an entrance on the short gable end, while others placed an entrance in the center of the longer side. In some, the fenestration on the gable end consisted of windows on either side of the door with a row of windows above and three windows in the gable. In other versions, the windows beside the door are omitted. In all versions, on the south side three stories of single, evenly spaced windows are capped by a steeply pitched, stepped-gable roof with a central chimney.
The Stadt Huys view in ﬁg. 10 was derived from a diﬀerent part of the same drawing. N. Phelps Stokes, The Iconography of Manhattan Island 1498–1909, 6 vols. (NY: Robert H. Dodd, 1915) v. 1, 224, 231. 26 annette stott image originated with an oil painting of 1845 by Mrs. M. 25 When she created the image, the building did not exist. She is supposed to have represented it from memory as it appeared in 1833 and she imagined the background she thought it might have had in the 1600s. The date in the Hayward version’s title comes from the year inscribed on the cottage.
2) of 1839. The room is ﬁlled by the ﬁgures of a rotund Stuyvesant, his black servant, a soldier guarding the door, an old man, the impossibly fat Van Corlear and the sound of his trumpet. In the background, the upper torso of a small woman is just visible peeking around the doorway, but the soldier bars her entrance to this male domain by bracing one booted foot against the door jamb. 7 The second way in which Allston’s image typiﬁes the early view of New Netherlanders is that his ﬁgures are humorous, exaggerated types, often bordering on caricature.
Alfred Kroeber: A Personal Configuration by Theodora Kroeber