Illustration for the 1843 first printing of “The Gold-Bug”
Poe was much more than the Master of the Macabre. He was also the Master of Mystery, the inventor of detective fiction, and an avid cryptographer who introduced puzzles and codes into his poems and short stories. His short story “The Gold-Bug” features an encrypted treasure map and a search for clues and codes that set the standard for such popular films as National Treasure and The Da Vinci Code. This spring the Poe Museum planted a new Gold-Bug Garden modeled after this setting of this important story. In honor of the opening of the new Gold-Bug Garden at the Poe Museum in Richmond, on Tuesday, June 23 at 6 p.m., Poe scholar Richard Kopley will deliver “Decoding the Gold-Bug,” a talk about Edgar Allan Poe’s influential treasure hunt mystery “The Gold-Bug.” Admission is free.
About Richard Kopley:
Richard Kopley is Distinguished Professor of English, Emeritus, at Penn State DuBois. He is the author of Edgar Allan Poe and the Dupin Mysteries, as well as numerous articles, chapters, and reviews on Poe. He is the editor of Poe’s Pym: Critical Explorations and the co-editor, with Jana Argersinger, of Poe Writing, Writing Poe. He has spoken on Poe widely in the United States, and he has given papers on Poe in Spain, Italy, Poland, Russia, and (by DVD) Japan.. He is a former president of the Poe Studies Association, organizer of several Poe conferences, co-organizer of the recent Fourth International Edgar Allan Poe Conference in New York City, and a member of the program committee for the next international Poe-Hawthorne Conference, scheduled for June 21-24, 2018, in Kyoto, Japan.
About the Poe Museum’s Gold-Bug Garden:
Designed by Riely and Associates, the firm that restored the gardens at the Virginia Executive Mansion, Monticello, and the University of Virginia, the Poe Museum’s Gold-Bug Garden recreates the Low Country setting of “The Gold-Bug” with an unusual combination of palms, umbrella plants, fatsia, and banana shrubs. This garden is only one stage in the Garden Club of Virginia’s restoration of the Poe Museum’s gardens, which date back to 1922.
Learn about the Poe Museum’s newest garden, its strangest artifacts, and upcoming visits by Charles Cantalupo and Richard Kopley. The latest issue of the Poe Museum’s newsletter Evermore is now online. Click here to find out more about the Poe Museum’s new exhibits, events, and acquisitions.
Countless artists have been inspired to translate Edgar Allan Poe’s works into visual art, music, sculpture, film, ballet, and opera; but few know his works have inspired landscape gardens. This will be no surprise to those who have read his short story “The Domain of Arnheim” or his many poems celebrating the beauty of gardens.
When the founders of Richmond’s Poe Museum decided to memorialize Poe with a garden based on one of his works, they chose the relatively obscure poem “To One in Paradise.” Poe was about twenty-four when he wrote the poem, which first appeared in the January 1834 issue of the Lady’s Book as part of the short story “The Visionary.” In this early story, a young man based on Poe’s boyhood idol, the British poet Lord Byron, falls in love with the young wife of a much older man. Suffering from his unrequited love for her, the young man writes the following poem on paper in a book with pages “blotted with fresh tears.”
Thou wast that all to me, love,
For which my soul did pine —
A green isle in the sea, love,
A fountain and a shrine,
All wreathed with fairy fruits and flowers;
And all the flowers were mine.
Ah, dream too bright to last!
Ah, starry Hope, that didst arise
But to be overcast!
A voice from out the Future cries,
“Onward!” — but o’er the Past
(Dim gulf!) my spirit hovering lies,
Mute — motionless — aghast!
For alas! alas! with me
The light of life is o’er.
“No more — no more — no more,”
(Such language holds the solemn sea
To the sands upon the shore,)
Shall bloom the thunder-blasted tree,
Or the stricken eagle soar!
Now all my hours are trances;
And all my nightly dreams
Are where the dark eye glances,
And where thy footstep gleams,
In what ethereal dances,
By what Italian streams.
Alas! far that accursed time
They bore thee o’er the billow,
From Love, to titled age and crime,
And an unholy pillow! —
From me, and from our misty clime.
Where weeps the silver willow!
After reading the poem, the young man’s friend answers the door to discover the lady has poisoned herself. The friend rushes to tell the young man, who has also just committed suicide. In the context of the story, the poem reads almost like a suicide note written by a man who believes “the light of life is [over].” The poem begins with a description of Paradise as “green isle in the sea” with a fountain and shrine. The garden is filled with “fruits and flowers,” possibly symbolizing ideal and carnal love. Then the narrator writes that this dream is too bright to last. The garden dies. The tree is struck by lightning and killed. He lives his days as if in a trance and spends his nights dreaming of his lost love.
Given the poem’s melancholy tone, one might wonder why it would have been chosen as the model for the Poe Museum’s garden. The answer likely lies with Museum founder and Poe collector James H. Whitty, who believed the poem references a real Richmond garden in which a teenage Poe courted his first fiancée Sarah Elmira Royster. Much like the plot of “The Visionary,” Royster married an older man in 1828, five years before Poe wrote the story and poem. Given the poem’s autobiographical nature and its connection to a lost Richmond garden Poe himself once frequented, “To One in Paradise” seemed the perfect poem for Poe Museum to recreate in its garden.
Not everyone, however, agreed with Whitty. An alternate theory, recorded in Thomas Ollive Mabbott’s edition of Poe’s poems, holds that Poe was inspired by Lord Byron. According to Thomas Moore’s biography of the poet, the day before Byron’s early love was to marry another man, Byron wrote a similar poem to her in one of her books. Since the baron in “The Visionary” very likely based on Byron, this theory makes sense. As a young man, Poe identified closely with Byron and modeled both his early poetry and his public image after the British poet. Poe went so far as to tell people he had tried to join the Greek Wars of Independence just as Byron had done.
Poe reprinted “The Visionary” in 1835 in the Southern Literary Messenger, in 1840 in Tales of the Grotesque and Arabesque, and in 1845 in The Broadway Journal (under the title “The Assignation.” Eventually, he decided the poem was strong enough to stand on its own. Removing the last stanza, Poe published the poem (without the story) in 1839 under the title “To Ianthe in Heaven.” In 1841, he changed the title to “To One Beloved.” Poe first printed the poem under its current title, “To One in Paradise,” in 1843.
Whether the first stanza describes Paradise, Heaven, an island in the sea, the garden in which Poe courted his first love, none of these, or a combination of the above; the vivid description provided rich inspiration for the Poe Museum’s founders who built their garden around a central green isle featuring a fountain and shrine. The perimeter of the garden is planted with flowers and shrubs mentioned in Poe’s poems and short stories. Enclosing the entire garden is a tall brick wall recalling the walled garden in which Poe and Royster spent time. Among the many building materials salvaged and repurposed for use in the Poe Museum’s garden are granite paving stones taken from the paths of the garden Poe knew. At one point, the Poe Museum’s garden also featured a stone urn and a gate latch taken from that garden.
Just as Poe inspired the Poe Museum’s garden, the garden itself has inspired generations of writers, artists, and gardeners. You can see some 1924 paintings of the garden here, and you can learn about this month’s exhibit of new paintings of the garden here. National Poetry Month is the perfect time to find your own inspiration in the Poe Museum’s Enchanted Garden. When you visit, be sure to bring a copy of “To One in Paradise.” Until then, you can listen to it here.
To learn more about some of our other favorite Poe poems, click here and here.
You can be a part of the Poe Museum’s next exhibit. After the success of last year’s Painting the Enchanted Garden, the Edgar Allan Poe Museum in Richmond, Virginia is calling on artists to visit the Museum’s legendary Enchanted Garden to sketch, paint, collage, or photograph the site for a the exhibit Painting the Enchanted Garden 2, which will run from April 23 until June 21, 2015. A portion of the proceeds from the sale of the artwork will benefit the Poe Museum’s educational programming.
The exhibit is open to all artists, including ones who participated last year. Since the first call for artists was so well received, the Museum will be displaying this year’s exhibit in a larger gallery on the first floor of the changing exhibits building.
If the weather permits, artists can begin working in the Garden on March 15 and must have their completed works ready for display by April 19. In order to avoid conflict with the Museum’s special events and facility rentals, artists must schedule their painting or sketching visits with the Museum’s curator Chris Semtner by writing him a [email protected] or by calling 804-648-5523. For those interested in joining a group painting session, the Museum will host one on Sunday, April 12 from 2-5 p.m. with artist Chris Semtner.
Interested artists can learn more about this opportunity by contacting [email protected] or calling 804-648-5534. In order to participate, please register for the show by April 1.
A copy of the prospectus can be found here: Prospectus for Painting the Enchanted Garden 2015
Artwork by Chris Ludke
It all began with a high school yearbook. Believe it or not, the Edgar Allan Poe Museum’s world renowned collection of Poe artifacts and memorabilia began in 1921 with the donation of a 1917 Collegiate School yearbook containing a parody of “The Raven.” Since then, thousands more items have entered the collection. Within a decade of opening, the Poe Museum outgrew its first building and expanded to occupy a complex of four buildings of Poeana surrounding a garden constructed from even more Poe memorabilia—the salvaged materials from buildings in which Poe lived and worked from Richmond to New York. With a mission to “interpret the life and influence of Edgar Allan Poe for the education and enjoyment of a global audience,” the Poe Museum has amassed a diverse collection that tells the story of Poe’s life, documents his literary contributions, and showcases the ways his legacy continues to inspire today’s culture. This means the Poe Museum is charged with preserving and sharing thousands of objects including Poe’s possessions, first editions, manuscripts, and pop culture ephemera like movie posters and comic books.
How did the Poe Museum get such a great collection? James H. Whitty became the Museum’s first donor when he presented that yearbook in 1921, the year before the Museum opened. He went on to donate scores of Poe illustrations, documents, portraits, and objects including a lock of Poe’s hair. Since then, hundreds of generous donors have contributed everything from Poe’s tiny nail file (a gift of Kenneth Bengel in 1964) to Poe’s vest (a gift of Mrs. Antoinette Suiter in 1997). Even those who did not have artifacts to donate helped build the collection by making financial contributions of all sizes. In 1930, for instance, twenty benefactors gave towards the fund that allowed the Poe Museum to purchase the Cornwell Daguerreotype that is now prominently displayed in the Memorial Building. Similar initiatives allowed the Poe Museum to purchase Poe’s letter to Samuel Kettell in 2005 and George Julian Zolnay’s bronze bust of Poe in 2010. Other benefactors have contributed to the Poe Museum’s historic collections preservation fund or supported its annual fund drive. The Poe Museum’s outstanding collection would not have been possible without all these gifts. If you would like to join the Museum in collecting, preserving, and exhibiting the life and work of Edgar Allan Poe, just click here or contact us at [email protected]
Below are a few of the excellent items donated to the Poe Museum in 2014.
The James A. Michener Museum donated the plaster model for Charles Rudy’s 1956 statue of Poe, the first full-length statue of Poe in Virginia. The same size as the finished bronze that now adorns Capitol Square, this model is now on display in the Elizabeth Arnold Poe Memorial Building.
Gregory Lorris donated twelve pages from the 1811 edition of Institutes of Natural Philosophy, Theoretical and Practical by William Enfield . .. . And the addition of an Appendix to the Astronomical Part by Samuel Webber, a text book Poe might have used while a student at the United States Military Academy at West Point. Though we have not been able to authenticate the writing, each page bears Poe’s signature. These pages of diagrams deal with such sciences as optics and astronomy, and they give us a good idea of the material Poe studied at West Point. One of the twelve pages is now on display in the Model Building.
After hearing that we needed to borrow the book Mesmerism in Articulo Mortis for an exhibit, Susan Jaffe Tane donated a copy of the pamphlet to the Museum. Tane had already made several generous loans from her collection for the Poe Museum’s exhibits.
Sculptor Zane Wylie donated an unusual casting of a skull (above) with the verses of “The Raven” carved into it while painter Anelecia Hannah donated a painting (below) of the bust of Poe in the Museum’s garden.
Judy Rash donated a copy of the beautiful 1884 edition of “The Raven” featuring illustrations by Gustave Dore.
An anonymous donor sent a copy of the edition of Poe’s Works edited by his literary executor Rufus Griswold.
The Garden Club of Virginia provided several new plants for the Enchanted Garden in addition to the research, design, and planting that have already gone into the restoration of the site.
This year Stephen Montgomery and James Vacca loaned the Museum items for exhibits.
As the Poe Museum’s collection continues to grow, we would like to thank all those who helped build that collection. You can click here to see selections from the collection, or you can click here to learn about our Object of the Month.
During “Vincent Price at the Poe Museum,” legendary horror actor Vincent Price and iconic author Edgar Allan Poe reunite this Halloween Weekend (October 31-November 1, 2014) at the Edgar Allan Poe Museum in Richmond, Virginia.
The weekend kicks off Halloween night, October 31, from 6-10 P.M. with Poe Goes to the Movies
, a costume contest and film screening hosted by Vincent Price’s daughter, Victoria Price
. Ms. Price and a panel of special guests will help judge the costume contest and Poe Look-Alike Contest. Then Victoria Price will introduce the movie Tales of Terror starring Vincent Price, Peter Lorre, and Basil Rathbone. The evening will also include the opening of the Poe Museum’s newest gallery, The Raven Room, featuring James Carling’s original ca.1882 illustrations for Poe’s poem “The Raven.” Poe Goes to the Movies will be a fun, frightening evening with games, tricks, and treats for the whole family. Admission for the evening is $20, and proceeds benefit the Edgar Allan Poe Museum’s education programming.
The following evening, November 1 from 6-10 P.M., the Poe Museum will host The Author’s Appetite, featuring the new Vincent Price Signature Collection wines in addition to Vincent Price’s foods prepared from recipes in his own cookbook. Victoria Price will share some her memories of her famous father. The evening will also feature performances of Poe’s works by Anne Williams, a book signing by Victoria Price, curator talks in the new Raven Room. Admission for the evening is $50 and will benefit the Edgar Allan Poe Museum’s educational programming.
For more information, contact the Poe Museum at 804-648-5523.
Last Sunday, the Poe Museum was proud to host a talk by award-winning authors Mary SanGiovanni and Brian Keene. Guests came from as far away as Pennsylvania and Illinois to meet the authors and hear their insights into the continuing relevance of Poe’s fiction.
Since the Poe Museum’s mission is to “interpret the life and influence of Edgar Allan Poe for the education and enjoyment” of the public, Keene and SanGiovanni helped support this mission by speaking about Poe’s influence on today’s writers. SanGiovanni began by discussing the impact of Poe’s short story “The Masque of the Red Death” on horror fiction. She provided a fascinating overview of the themes and imagery of the story and drew parallels between these and the recurrent themes found in modern psychological horror and cosmic horror.
After SanGiovanni’s talk, Keene spoke about Poe’s novel The Narrative of Arthur Gordon Pym, its inspiration for his own writing, and its influence on later writers. He traced the influence of this novel on Herman Melville, Jules Verne (who wrote a sequel to it), and H.P. Lovecraft (whose novel At the Mountains of Madness borrows from it). Keene continued by describing how At the Mountains of Madness helped inspire John W. Campbell’s novel Who Goes There which has been adapted into three films, the second of which is John Carpenter’s 1982 movie The Thing, which Keene considers the most important horror film of the 1980s. The Thing topped Boston Globe’s list of the Fifty Scariest Movies of All Time and was ranked #2 on Moving Arts Film Journal’s list of the Twenty-Five Greatest Horror Films. The film, in turn, was a great inspiration to Keene himself.
The talks were followed by a question-and-answer period in which the authors discussed their own work as well as the international significance of Poe’s literary contributions. A sizeable crowd gathered afterwards to have the authors sign copies of their books. Keene and SanGiovanni also donated some copies of their books to the museum’s gift shop to help support the museum’s educational mission. The Poe Museum would like to thank SanGiovanni and Keene for sharing their insights with our audience.
Our next author talk will take place on October 15 at 6 P.M. when the Virginia Literary Festival Presents: An Evening with Clay McLeod Chapman. Click here for a complete list of upcoming events.
Clay McLeod Chapman, our October speaker
Every object in the Poe Museum tells a story. Each artifact or piece of ephemera helps us interpret the story of Edgar Allan Poe’s life and influence. The July Object of the Month is no exception. The Cornwell Daguerreotype is a distinctly arresting image of Poe taken at a low point in the author’s life, four days after a suicide attempt. His fiancée Sarah Helen Whitman, who owned the original, which she named the “Ultima Thule” Daguerreotype, pronounced it “wonderful” and told Poe’s biographer John H. Ingram that it had been taken “after a wild distracted night . . . and all the stormy grandeur of that via Dolorosa had left its sullen shadow on his brow.” One of four copies made directly from the original plate, this tiny daguerreotype (an early type of photograph made on a light-sensitive silver-plated piece of copper) has long been one of the most important artifacts in the museum’s collection. The image serves as an especially poignant document of Poe’s brief and troubled life. (Click here to learn more about the circumstances under which it was taken.) But this is only the beginning of the daguerreotype’s story. If it had not been for one woman’s determination, the piece might never have entered the collection.
Our account begins in 1933, when the world was still mired in the Great Depression. Early that year, the United States unemployment rate peaked at 25%, a drought plagued the heartland, over 5,000 banks had failed, and hundreds of thousands of Americans were homeless, struggling for survival in makeshift shanty towns. The Poe Museum (then known as the Poe Shrine) was not immune to this global crisis. To conserve energy, the Museum closed all but one of its four buildings and turned off its oil burner. Instead it heated one room in the Old Stone House with a wood stove. Before a December board meeting, the Poe Shrine’s secretary Mary Gavin Traylor wrote the museum’s president, Richmond News Leader Editor and Pulitzer Prize-winning historian Dr. Douglas Southall Freeman, for permission to at least use the oil burner during the meeting. If not, she added, “we will rock along with the fourth of a cord of oak and pine blocks and the small load of kindling donated to us…”
To save money, Dr. Freeman instructed the museum’s hostesses to take off one month for every three months of work. His note ended “If things are not better in spring, we will have to reduce the force by one.”
A notation in the financial records reads, “Personnel has been reduced to one lady for five hours in the morning and one lady for five hours in the afternoon at very small wage but positively all that could be paid…There was a loss in the ‘nest egg’ for the endowment at the time of the bank failures. Have not had heat or a phone since the depression…”
In early 1933, just when the museum’s situation was at its bleakest, Christine Smith Rawson of Bradford, New Hampshire contacted Ms. Traylor at the Poe Museum. Rawson was in need of money and owned a rare daguerreotype she knew would be of interest to the museum. Though she admitted she had no idea how much the piece was worth, she offered it to the museum for $500. This is the equivalent of $8,895 in today’s dollars. At a time of bank failures and staggering unemployment, this seemed like an impossible sum, but Traylor believed the Poe Museum needed this artifact. Before she attempted to acquire it, however, she would need to learn more about the piece. In order to learn something about the provenance (or history) of the piece, she quizzed Rawson about what she knew of the plate’s origin. Rawson had received it from her uncle John Clarke Turner, who had been given it by a Dr. Cornwell of New London, Connecticut. More research revealed that Dr. Cornwell had been a poet who had published a number of poems in the Poet’s Corner of the New London Telegram, and that Turner was editor of the Poet’s Corner. Through this connection, the two writers became friends, so, shortly before his death, Cornwell gave his cherished daguerreotype to his friend.
That the daguerreotype had once been owned by Cornwell was also recorded by Edmund C. Stedman, who had borrowed it from him in 1880 to have it reproduced as a wood engraving by Timothy Cole. The engraving appeared as an illustration for an article about Poe in the May 20, 1880 issue of Scribner’s Monthly. A footnote in the article notes,
The frontispiece-portrait in the present number of SCRIBNER is reproduced, on an enlarged scale, from what is thought to be the last daguerreotype obtained of the poet. The editor is indebted to the kindness of Dr. H. S. Cornwell, of New London, for the use of this picture, and for the facts establishing its authenticity. It was taken by the late Mr. Masury, of Providence, R. I., and Mr. Cornwell makes it probable that Poe sat for it within a year or two of his death in 1849. The lines of the neck and chin are not so heavy as in the Bendann daguerreotype, but my comments on the latter otherwise apply to this picture. The unusual development of Poe’s forehead in the regions where the analytic and imaginative faculties are thought to hold their seat, is here shown as in no other likeness of the poet. Mr. Cornwell writes of it:
“The aspect is one of mental misery, bordering on wildness, disdain of human sympathy, and scornful intellectual superiority. There is also in it, I think, dread of imminent calamity, coupled with despair and defiance, as of a hunted soul at bay.”
Timothy Cole’s woodcut reproduction of the daguerreotype can be seen below.
During Traylor’s investigation, she learned that a biography of Cornwell, John Sylvester Cornwell, A Memoir by Ellen Morgan Frisbie, had been published in 1906. She was able to find a copy in the Library of Congress and took notes on any information relevant to her search. She found that Cornwell was born in 1831 and died on 1886. A passage on page two reads, “Our poet numbered among his friends, Sarah Helen Whitman, the brilliant woman who at one time was the fiancée of Poe and they frequently exchanged poems in the course of their correspondence.”
Sarah Helen Whitman
On page sixteen, she learned, “From 1873 to 1880, The New London Telegram enjoyed a reputation for printing very good poetry. The Poet’s Corner was under the supervision of John C. Turner and was frequently graced by Dr. Cornwell’s compositions.”
On the same page, she found another passage: “One of the Doctor’s most cherished possessions was an old daguerreotype of Edgar Allan Poe whom he so much admired. It is now the property of Mr. Turner, to whom it was presented by the poet some little time previous to his death.”
Once she had traced the ownership of the plate to Dr. Cornwell, she could only speculate on how he had acquired it. The fact that he had corresponded with Sarah Helen Whitman was an important clue because she had been the owner of the original plate from which this copy had been made. From Stedman’s footnote, she knew that Cornwell had acquired his daguerreotype in Providence, the city in which Whitman lived. It had even been made in the same studio that had taken the original. Because daguerreotypes were made directly on a light-sensitive plate without the use of a negative, copies were made by carefully photographing the original. Since Mrs. Whitman owned the original, she probably authorized the making of this copy. She is thought to have made the copy in the Pierpont Morgan library for her friend Caleb Fiske Harris and that she had the copy now in the Fales Library for one of her correspondents Sarah E. Robbins.
Given the exceptional quality and clarity of the image in Lawson’s daguerreotype, it was believed the plate was the original, but this was easily dismissed by comparing it with the other copies. Aside from the Robbins daguerreotype, they all have Poe’s part on the same side. At the time of production of the plate, the images in daguerreotypes were reversed. If Lawson’s plate had been the original, it would be a mirror image of the other copies.
Later investigations revealed that the pattern on the daguerreotype case was produced in limited quantities around 1853. If the case is original to the plate, this would support the plate being dated to before 1860, the year Sarah Helen Whitman’s daguerreotype, from which it was copied, disappeared from her home.
Having established the provenance of the piece as well as she could, Traylor decided to find out if $500 was a reasonable price to pay for it. She wrote to Brown University, the Pierpont Morgan Library, and other owners of Poe daguerreotypes to ask what they had paid for their pieces. When these institutions were unable to provide any useful information, she wrote University of Virginia professor and Poe authority Dr. James Southall Wilson for his opinion. He answered, “I would not pay more than three hundred dollars for the picture offered you and…I believe…such an offer would be accepted.”
Armed with this information, Traylor brought the matter to the Poe Museum’s board but was told that the museum simply did not have any money for the purchase. Seeing how passionate she was about not letting the institution miss the chance to acquire what she believed to be the most important of the very few daguerreotypes made of Poe, the board eventually authorized her to try to raise the $500 on her own.
Traylor started contacting her wealthy friends for donations. One of her typical fundraising letters expresses her passion about acquiring the plate:
Some time ago, a rare find was brought to the Shrine in the hope that we would buy it, the Board met and regretfully had to say “no fund,” much as they felt it was a splendid thing for us to acquire. I was so filled with the realization of its importance and determined that it should not escape the Shrine that I asked permission to try to get a number of subscribers to a fund, so that they as a group might present it to the Shrine…”
Within a few months, Traylor was able to get commitments totaling $290. Among the twenty donors were Granville Valentine with $25, John Stewart Bryan with $25, Ambassador Alexander Weddell with $50, Dr. Douglas Freeman with $15, and James Rindfleisch with $50. Among the many who found themselves unable to contribute was novelist Ellen Glasgow, who wrote, “It would be splendid if the Poe Shrine could buy this daguerreotype, and I regret that I am unable to contribute toward the purchase.”
When she wrote back to Lawson that she could not possibly pay more than $300 for the daguerreotype. Lawson responded by suggesting Traylor pay $300 up front and the final $200 in one year.
On May 15, 1933, Traylor answered,
The Shrine cannot, for the board on such things, distinctly said, as much as they would like to have it, they could not with financial circumstances such as they are, purchase it. The financial circumstances are worse than they were, for as I told you we lost heavily in the American Bank not opening its doors. The Shrine cannot take on any obligation. Then there is no one left to make you a note but me, and the Heavens in their high sky are not further away than such a possibility is far from me. Who could make a note, the group of people I have approached, have contributed $5 and $10 dollars each, each doing in doing that, all that he or she could feel able to do, there would be no chance of asking them to make a note. No one of them, at a time, when to eat and live is of so much more importance than a Poe Daguerreotype, would dream of being responsible for any $200 that might be collected, no individual is taking on responsibilities at this date either. To have a note made out to you is utterly out of the question. To carry on here at the Shrine with what we have is much more important, vital necessity and not in any manner to endanger that, is more important than to endanger that, is more important than to enhance the collection at this moment with no matter how interesting a Poe item, be it a manuscript, daguerreotype or piece of furniture. This is the situation as it exists today. Everybody has marveled that I have been able to get the promise of $300 to be given me…
After pointing out that the daguerreotype is a copy and, therefore, not as valuable as an original, Traylor continues,
I am anxious to have it, you should be able to readily see that. But $300 cash is the extent of my ability…You will not be able to get more elsewhere…Do please just let the group have it for the $300 I have the promise of and let it be presented to the Shrine. I feel you will never regret it, dear Mrs. Rawson…
On May 26, Rawson replied,
I have succumbed to your pleadings and enthusiasm and your unbounded interest in the Poe Shrine. I am going to let you have the picture for $300…Feeling happy that the picture is going to the Poe Shrine and thanking you for your great interest and help…
Now Traylor found herself faced with the task of collecting all the money that had been pledged. She rushed to collect the donation from Ambassador Weddell, who was about the leave the country. His donation alone amounted to one sixth of the total, so missing him before he left would have been the end of her effort. With Weddell and most of the other donors still able to fulfill their pledges, Traylor was able to purchase the plate in time it to go on display at the Poe Museum on October 7, the anniversary of Poe’s death. Thanks to Traylor’s vision and determination, the museum’s guests still able to see this important artifact at the Poe Museum.
The next time you visit the Poe Museum’s Enchanted Garden you might come upon this small plaque placed in memory of Mary Gavin Traylor.
Painting by Chris Ludke
If you have visited the Poe Museum in Richmond recently, you might have noticed artists busily working at their easels throughout the garden. Over the course of the past month, these artists have been painting, sketching, and photographing the Poe Museum’s legendary Enchanted Garden for the a new exhibit and fundraiser opening next week on May 22 at the Museum. Painting the Enchanted Garden will feature new artwork by artists including Brenda Bickerstaff-Stanley, Randall Graham, Linda Hollett-Bazouzi, Julia Lesnichy, Chris Ludke, Jean Miller, Mac Paulett, Mary Pedini, Jamie Phillips, Carol Mathews Ray, Christaphora Robeers, and Mike Steele.
Since the paintings are still being produced for inclusion in the show, we have only been able to share with the public photographs of the artists at work in our garden. Now, however, we are beginning to receive the finished works. The above painting by Chris Ludke features a view of the garden as seen between the Elizabeth Arnold Poe Memorial Building and the garden wall. The below watercolor and collage by Carol Mathews Ray capture the effect of mid-day sunlight in the Enchanted Garden. If you look closely at the collage, you will also see that the artist has included a clipping of the verses of Poe’s poem “To One in Paradise” that inspired the garden plan.
While I was writing this post, Mary Pedini dropped off her painting pictured below, which she entitled “The Fountain.”
Below are more photographs of works in progress. You can be among the first to see and purchase the finished works at the May Unhappy Hour on May 22 from 6-9 P.M. The event will feature live music by Lost Boys, games, a cash bar, and a talk by Morwenna Rae, the Curator of Dr. Johnson’s House in London.
Virginia’s first literary museum, the Poe Shrine (now the Edgar Allan Poe Museum) opened in 1922 with a weekend of events held in its newly planted Enchanted Garden. Two years later, the Poe Shrine commissioned the London firm Raphael Tuck and Sons, Publishers to the King and Queen, to immortalize the Garden in a series of post cards. The artist S. Shelton produced the series pictured here.
Enchanted Garden and Old Stone House of the Edgar Allan Poe Shrine, Richmond, VA in April
Enchanted Garden and Old Stone House of the Edgar Allan Poe Shrine in June
The Loggia and Enchanted Garden. The Edgar Allan Poe Shrine, Richmond VA
A number of letters between the Poe Shrine and Raphael Tuck and Sons attest to the level of accuracy and detail expected by the Shrine’s board. In addition to containing several photographs of the site, the board’s letters stressed the importance of such details as the names and colors of the flowers as well as the “atmosphere and charm of this quaint little garden.”
Today, as the Garden Club of Virginia begins its historic restoration of the Enchanted Garden, the landscape architects Rieley & Associates have found these prints especially useful in their planning. While the Museum owns several black-and-white photos of the original garden—and even a card catalog of the first plantings—Shelton’s paintings show the color schemes and provide a more complete idea of the founders’ intentions.
Ninety years after Shelton painted these pictures, the Poe Museum has grown to encompass three more buildings to house Poe artifacts, the Enchanted Garden is still the heart of the complex. In about a month, the spring flowers will be in bloom, and the Garden Club’s restoration will be well underway. Pay the Poe Museum a visit or check this blog for the latest updates. If you are an artist and are inspired by these post cards to paint or draw your own pictures of the Enchanted Garden this spring, you will not want to miss out on our upcoming exhibit Painting the Enchanted Garden. Click here to learn more about this opportunity.