https://archivalgossip.com/collection/files/original/81263e51db68fed1550add8a06d41439.jpg c0aa71f6da57852734911f2a6b0fd867 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harriet Goodhue Hosmer Source A related resource from which the described resource is derived Schlesinger Library, Radcliffe College Publisher An entity responsible for making the resource available Merrill, Lisa. When Romeo Was a Woman. Charlotte Cushman and Her Circle of Female Spectators, The U of Michigan Press, 1999, pp. 179. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cushmania Subject The topic of the resource Cushman, Charlotte Saunders, 1816-1876 Stebbins, Emma, 1815-1882 Gossip--Published Gossip--Private Relationships--Networks Italy--Rome Description An account of the resource A collection of archival material (letters, diaries, articles, auto/biographical accounts) collected from different archives (cf. <a href="https://www.archivalgossip.com/sources/archives/">list</a>) that showcase the life of Charlotte Cushman, one of the most successful US American actresses of the nineteenth century. We invite you to either look for specific items via the tag cloud at the bottom of the page or the search function at the top, <a href="https://archivalgossip.com/collection/items/browse?collection=1" target="_blank" rel="noopener">browse all items</a> in this collection, or explore thematic compilations of selected items in our "<a href="https://archivalgossip.com/collection/exhibits" target="_blank" rel="noopener">Exhibits</a>." <h6 style="text-align: center;"><a href="https://archivalgossip.com/collection/files/original/c4226e025914fe32ca1542c728bd11cc.JPG"><img title="Item Locations" alt="Item Locations" src="https://archivalgossip.com/collection/files/original/c4226e025914fe32ca1542c728bd11cc.JPG" style="display: block; margin-left: auto; margin-right: auto;" width="349.5" height="237.5" /></a>(<a href="http://hdlab.stanford.edu/palladio/">Palladio</a> visualization, Dec 2021: location of items in collection, size nodes)</h6> <h6 style="text-align: center;"><a href="https://archivalgossip.com/collection/files/original/44bccce1e23bf9efe34d0078d3cc97f0.JPG"><img title="Item Locations" alt="Item Locations" src="https://archivalgossip.com/collection/files/original/44bccce1e23bf9efe34d0078d3cc97f0.JPG" style="display: block; margin-left: auto; margin-right: auto;" width="349.5" height="324.5" /></a>(<a href="http://hdlab.stanford.edu/palladio/">Palladio</a> visualization, Dec 2021: letter correspondence for items that have values defined for "location sender" AND "location recipient," size nodes)</h6> Source A related resource from which the described resource is derived Library of Congress New York Public Library Philadelphia Historical Society Date A point or period of time associated with an event in the lifecycle of the resource 1816-00-00/1920-00 Person An individual. Birth Date 1830-10-09 Death Date 1908-02-21 Occupation sculptor Secondary Texts: Comments Secondary sources that have explicitly commented on the respective item or raised important concerns/questions that are of interest After their initial closeness, the relationship between Charlotte Cushmand and Harriet Hosmer gets more formal and ends in a quarrel over Ned Cushman and Prince Bandini 1869 (Sherwood 298). Culkin elaborates on that as follows: 'In 1869 the friendship between the artist and Charlotte Cushman suffered irreparable damage. The faults in the foundation had been there for years, probably since Emma Stebbins first moved into the Cushman household, and the distance between the two women had grown after Harriet established her own home. It must certainly have been hard for Harriet, who loved to be - and expected to be - the center of attention, to see the actress shower another with her affection and influence. The final break, however, did not explicitly come from a fight over patronage. As so often happens in personal relationships, the underlying tensions were exposed by a seemingly trivial, even ridiculous, matter. Harriet and Ned Cushman joined together to protest the fact that in the foxhunts that were held regularly outside of Rome, Americans never won the highest honors, and the two withdrew from the events. But when Prince Bandini asked Harriet to return in 1869, she accepted, even though the invitation was not extended to Ned as well. Charlotte Cushman, who was suffering from breast cancer at the time, was livid. The fight escalated when Harriet, insulted by the actress when visiting her, refused to invite Cushman to a dinner she gave for the Longfellow family. When the Cushman household left Rome in the summer of 1869, none said goodbye to Harriet. Eventually a partial reconciliation came about, but the friendship never fully recovered. Still, even at her moment of greatest anger Harriet acknowledged that she was 'always ready and willing to testify to my great indebtedness' to Cushman." (Culkin 116) In Hosmer's biography, Culkin comments on Hosmer's relationships with other women: "Throughout her life, Harriet had had flirtations with females, but the woman she seemed closest to had always had another partner. Charlotte Cushman was involved with Matilda Hays and then Emma Stebbins; Cornelia, despite the intensity of her friendship with Harriet, married Lucien Carr. Harriet's relationship with Marion Alford hay have started as a flirtation, but quickly evolved into a friendship. With Asburton, Harriet had the longest-lasting romance of her life, with a woman she could claim as hers. The relationship had enormous consequences for the artist - emotionally, professionally, financially, and geographically." (Culkin 117) In her monograph on Charlotte Cushman, Merrill states that "Charlotte and Matilda together embodied a degree of female independence and an alternative style of living that Hatty had never seen before" (169). Controversy about the Hosmer and Cushman relationship among scholars: <ul> <li>Krisher writes that Hosmer's and Cushman's relationship lasted from 1858 to 1865 (154).</li> <li>In contrast, Culkin, Hosmer's latest biographer, does not believe in a romantic relationship between Hosmer and Cushman: “A spark of attraction between Cushman and Harriet most likely helped spur the friendship so quickly, but both often cast their relationship as that of mother and daughter. Cushman was deeply involved with Hays, and the draw for Harriet may have been to the promise represented by Cushman's life with Hays as much as to the woman herself. The great actress allowed her to see as a real possibility a life that included professinal success and a devoted, passionate relationship with another woman.” (Culkin 23)</li> </ul> Sherwood claims that Hosmer was greatly indebted to Charlotte Cushman (300). Culkin describes Harriet's father, Greenwood, and Cushman as Harriett's most important advocates in Italy: "Greenwood represented the writers who promoted the young artist in the American press, another critical part of Harriet's quick rise to fame. Greenwood had achieved popular success with a regular column published in the Saturday Evening Post and the National Era had hired her to document her trip abroad through "a series of Letters form the Old World"; thus Harriet's debut in Italy was chronicled in a national publication. From the second she entered Rome, then, the people of the United States were following the sculptor's progress. … Harriet's network made her first days in Rome much easier. Cushman established a house for her party at 28 Via del Corso, giving the sculptor a base near the Spanish Steps, the heart of the expatriate community." (Culkin 29) Culkin repeatedly writes about Cushman's decisive and planned contribution to Hosmer's career: “Charlotte Cushman was especially adept at using an active social life in Rome to spread the word about the young artist. The actress hosted weekly salons at her house, introducing Harriet to the most notable names in Rome, and Cushman and her housemates were also invited to other social events. Cushman did not simply introduce Harriet to expatriate society at these occasions; she also actively solicited support for her friend.” (Culkin 31). The Stebbins and Hosmer relationship is presented as ambivalent. Additionally, the secondary texts seem contradictory about how to categorize their relationship, as is exemplified by two excerpts from Culkin and Merrill. <ul> <li>“When Harriet returned from her trip to the United States, she joined the household, which included Sallie Mercer (Cushman's longtime maid) and a series of Cushman's friends. The home was not without tensions. In a letter to Wayman Crow, Harriet declared she had "taken unto myself a wife in the form of Miss Stebbins, another sculptrice & we are very happy together." [HH to Wayman Crow, December 9, 1857, HGH Papers, folder 94, reel 3] As with Hays, Harriet and Cushman once again seemed to compete for the attentions of another woman, even as they primarily cast themselves as mother and daughter. The friendship survived, although Stebbins clearly chose Cushman as her partner. Beyond a romantic rivalry with Cushman, Harriet must have also felt a professional competition with Stebbins. For five years Harriet had been the sculptor of the house and had enjoyed Cushman's powerful endorsement, which had helped her conquer the expatriate social scene and develop her career. Cushman, for the time being, would continue to endorse and promote Harriet, but her energies and influence would also go toward Stebbins.” (Culkin 61)</li> <li> "The affinities and contradictions present in a house full of women who love other women were more complex than a mere replica of a heterosexual and nuclear family, even if that was the only language available to describe their ties. Witness, for example, some of the ways Hays used the word wife. When Hattie first came to live with the more stereotypically feminine Emma Stebbins, she wrote t Wayman Crow that she had "taken unto myself a wife in the form of Emma Stebbins, another sculptrice and we are very happy together." But Emma Stebbins was living with both Hatty and Charlotte. While Hatty's depiction of Charlotte's partner as her own "wife may have been a reflection of Hatty's (unconscious) feelings of competition with Charlotte, it may have also afforded Hatty a way to differentiate her own professional aspirations with their household from those of Emma Stebbins. Hatty never used the feminine diminutive "sculptrice" to describe herself, and her playful invoking of gender in this letter may imply as much about Hatty's perception of herself as a serious (male), professional sculptor, when compared with the feminine, domestic "wifely" Emma, as it does the closeness of any relationship between them. Although women in their era might unabashedly liken their relationship with other women - whether as friends or as lovers - to heterosexual marriages, secure in the belief that to most readers this allusion would be read as a signal of affectionate friendship rather than sexual passion, still the terms also contained the possibility of invoking "wifely" or "husbandly" sensual and sexual bonds as well as the strictly sentimental." (Merrill 189) </li> <li>While Emma and Charlotte shared "Charlotte's quarters, ... Hatty's rooms were her own." (Merrill 189).</li> <li>"The female artists were friendly with one another; and many lived on Via Gregoriana. Harriet had a flirtation with Florence Freeman; although Cushman claimed Harriet threw her over for Mary Crow, the end of the romance did not signify the end of the friendship […]. […] Despite their bonds, however, the women also competed for patrons, commissions, and publicity. Lewis, in addition, faced racism and condescension even from those in the community who puported to support her. […] Between Harriet and Stebbins the tension was personal as well as professional. Cushman's devotion to another sculptor surely hurt Harriet, who had grown used to Cushman's attention and support. The rivalry intensified after the Massachusetts legislature passed a resolution in the fall of 1859 to install a statue of Horace Mann in front of the State House in Boston. A competition was held to award the commission, and Harriet lobbied hard to win it, writing to Sophia Peabody Hawthorne, Mann's sister-in-law, to ask for her endorsement. The professional ramifications of Harriet's changing personal relationships became clear when Cushman backed Stebbins in the competition and courted Mann's widow, Mary Peabody Mann, by promising to help raise money fr the work through a dramatic reading of a euology of Horace Mann. In the summer of 1861 Stebbins emerged victorious. By the end of the year, Stebbins also received the commission for a statue of Commodore Perry for New York's Central Park, which was never completed, and was in negotiations to create Betheseda Fountain for the same park. Cushman wrote of Stebbins' good fortune to Emma Crow, adding, "Don't say anything about it for it only makes unnecessary jealousies. Don't tell Mary [Crow] for I don't want Hattie to know of it." [<a href="https://archivalgossip.com/collection/items/show/358">CC to ECC,  July 26, 1861, CCP</a>]" (Culkin 96)</li> <li>"She convinced the prominent St. Louis businessman Wayman Crow to order a crayon portrait of Harriet Hosmer by Emma Stebbins." (Parrott 324)</li> <li>"They were high-spirited and unconventional in their behavior. In 1861 Cushman described in an amusing letter to Emma Crow back in Saint Louis the pistol-target practice of Emma Stebbins and Harriet Hosmer she had witnessed in Stebbins studio" (Parrott 331)</li> </ul> Hosmer's and Wayman Crow's professional ties: " "Her father's death changed Harriet's life in a practical way as well. She was his sole heir, and thus she now had another source of income. Dr. Hosmer had for a time arranged for a male cousin, probably Alfred Hosmer, to oversee the estate. When she found out and protested, her father rewrote his will so the inheritance came directly to her. Harriet needed money, and Cushman, noting the timing, commented, 'I never saw a person who was so universally fortunate in m life & sometimes I think it is a reward for her being so universally cheerful.' [LoC CCP, CC to ECC, May 7, 1862] The death also linked Harriet more closely to Wayman Crow, who would now play an even larger role in managing her finances." (Culkin 67) Admin Comment Comments for further research, pending questions, tasks that still have to be completed Clearly, there are all sorts of opinions about when CC was romantically involved with Hosmer, cf. Sherwood vs. Krisher. <ul> <li>Culkin: Nov 1851: CC returns to Boston from farewell tour; HH and CC meet for the first time; repoducing the asexual narrative</li> <li>"Cushman was more than a professional role model, for, like Harriet, she chose women as partners throughout her life. Matilda Hays, a British journalist and novelist, was Cushman's companion at the time the actress met Harriet. … Hays and Cushman's relationship was clearly understood as more than friendship by the women themselves and by many of their contemporaries. In a letter to a friedn, Elizabeth Barrett Browning described it as "a female marriage." [qtd. in Robert Browning, Dearest Isa: Robert Browning's Letters to Isabella Blagden, ed. Edward McAleer (Austin, Texas UP 1951), 27] The relationship between Cushman and Hay was not unique. During the nineteenth century many women had intense, platonic friendships with other women." (Culkin 22)</li> </ul> Harriet Hosmer was in love with Cornelia Crow; another example of how biographies still engage in gossip/rumor spreading cf. "most likely": “Cushman most likely warned her to downplay such public expressions, just as the actress did herself, fearing public recrimination; indeed, she went so far as to insist that some of the recipients of her love letters destroy them. In Rome, Harriet continued to pursue what she called "flirtations," but she seems to have heeded Cushman's warning in her correspondence to America. She may have been particularly concerned about Wayman Crow's opinion, as he was potentially a large source of income and might grow concerned over her feelings for Corney, his daughter.” (Culkin 37) Zenobia incident described by Culkin, Hosmer's biographer: "Harriet and her supporters responded to the accusation with quick, direct action. The beleaguered artist wrote to Wayman Crow, " Miss Cushman has more than once talked to me about it & said I might to take the matter up & set the question now & forever at rest ... Mr. Gibson is most indignant & is ready to go into any Court of Law for me & many others have I got to fight for me so you will see it will be no joke." [HH to Wayman Crow, Rome [November] 2, [1863], HGH Papers, folder 97, reel 3] Harriet also wrote to Lydia Maria Child […]. Harriet also took the matter to court. Throughout these maneuvers, she carefully modulated her persona, finding ways to present her anger in acceptable ways. Cushman's involvement in Harriet's defense is surprising because she had privately expressed concern that the sculptor did rely too heavily on her workmen. She had complained to Emma Crow as early as 1862 that Harriet "really does very little of her own work"; in February 1864 Cushman claimed that she "lets the workman advance her figure farther than any of the others."[Charlotte Cushman to Emma Crow, April 5, 1862; Charlotte Cushman to Emma Crow, February 4, 1864, CCP] It is hard to evaluate the motivation and validity of Cushman's statements. They may have stemmed, in part, from the growing tension between her and Harriet after Emma Stebbins's arrival in their home. Harriet and Corney often discussed Harriet's feeling that Cushman had gone from one whose "loyalty to me was staunch" to someone who talked behind her back. [HH to CCC, August 16, [1879], HGH Papers, folder 139, reel 7] Cushman had begun to criticize not only Harriet's practices in the studio but also her spending habits and her fickle heart. Moreover, the fact that Stebbins refused to use the Roman workmen, enduring physical strain, may have made Cushman particularly critical of Harriet's use of the men. Cushman made the statements to Emma Crow at the time her relationship with the younger woman was blossoming; the complicated entanglements among Cushman, Stebbins, the Crows, and Harriet may have motivated Cushman to drive a small wedge between Harriet and the Crows. Or perhaps she really did believe the sculptor relied too much on the workmen. Whatever the motivation, it is equally significant that, despite her concerns, Cushman helped implement Harriet's defense." (Culkin 72) "William Wetmore Story publised the first defense in the Athenaeum, one of the most prestigious and influential English journals of arts and letters of the mid-nineteenth century, read by more than eighteen thousand people a week. Harriet published "The Process of Sculpture" in the respected Atlantic Monthly." (Culkin 73) <a href="https://books.openedition.org/obp/8080?lang=en">https://books.openedition.org/obp/8080?lang=en</a> <ul> <li>"extensive artist’s studio at Via Margutta 5 near the other male sculptors with a workshop full of assistants" (8) "The Clasped Hands of Robert Browning and Elizabeth Barrett Browning (1853), with whom Hosmer was close friends, is one of the few bronzes she made, and is on view in a period room in the Metropolitan Museum of Art." (13)</li> <li>"Word of Hosmer’s monumental Zenobia quickly attracted admirers, as evidenced in an 1859 Harper’s Weekly article ‘Miss Hosmer’ s Studio at Rome’ with an illustration of the Prince of Wales visiting her studio. John Gibson is depicted explaining the merits of Hosmer’s work to the prince and Hosmer is drawn diminutively and silently to the side. A senior male mentor and sculptor was needed to vouch for a woman’s work — no matter how obviously skillfully executed, ambitiously scaled and thoughtfully composed. And it worked: the prince became an enthusiastic supporter and purchased several sculptures, including a Puck marble that he installed in his room at Oxford. Nathaniel Hawthorne was the first to compare Zenobia to the Athena Giustiniani, a Roman copy of the late-fifth/early-fourth-century BCE Greek statue (the goddess of wisdom and war), and the Barberini Juno, a sixteenth-century copy of a Greek statue (the queen of the Olympian gods) that Hosmer would have known and that was on view in the Vatican Museums." (17) </li> <li>gossip about Zenobia: ‘Obituary: Mr. Albert Gatley’, Art Journal, 1 September 1863, p. 181. -->found! cf. item </li> <li></li> <li>"Then Hosmer, still the most well-known and renowned female sculptor of the period, made a grave ‘mistake’. She entered her Zenobia sculpture along with Puck and Medusa in the 1862 London Exhibition, attended by over six million people. It was an instantaneous critical success and a scandal immediately ensued. Hosmer’s less celebrated male rivals were furious a woman was overshadowing them and they spread a rumor that she hadn’t made Zenobia herself, but that it was the work of one of her Italian assistants. They widely circulated the rumor and published it in The Queen newspaper and then reprinted it in the Art Journal (London).<a class="footnotecall" id="bodyftn5" href="https://books.openedition.org/obp/8080?lang=en#ftn5">5</a> Hosmer had long heard the disparaging gossip of her jealous male competitors, but this was different. The accusation was intended to halt her growing reputation and ruin her career." (18) "Hosmer fought back swiftly at a time when most women couldn’t raise their voices and in a way nobody imagined: first, she filed a lawsuit claiming damages of 1000 pounds and then, publicly, in print, spoke the truth. She adeptly rallied her successful male allies from Hiram Powers to Nathaniel Hawthorne to write publicly on her behalf; the paper that had printed the lies published a retraction and a lukewarm apology.<a class="footnotecall" id="bodyftn6" href="https://books.openedition.org/obp/8080?lang=en#ftn6">6</a> She wrote an article, ‘The Process of Sculpture,’ published in 1864 in The Atlantic Monthly,<a class="footnotecall" id="bodyftn7" href="https://books.openedition.org/obp/8080?lang=en#ftn7">7</a> which infuriated her male counterparts because it lifted the veil on the fact that all sculptors used assistants as keeping with the historic traditions and necessities of sculpture. Then The New York Evening Post published her riotous poem, ‘The Doleful Ditty of the Roman Caffe Greco,’<a class="footnotecall" id="bodyftn8" href="https://books.openedition.org/obp/8080?lang=en#ftn8">8</a> depicting male artists at a popular watering hole and gathering place for the expatriate Roman art community bemoaning their competition with the lady sculptors; the poem ridiculed their fragile male egos. Hosmer assured herself of the last laugh when Zenobia went on to an extremely successful American tour to sellout crowds in New York, Boston and Philadelphia." (19) </li> <li>"This gender-blurring in 1865 is nothing short of astonishing. According to her own writing and that of her lovers, Hosmer was only romantically linked to women and had a relationship with every noble woman she could get her hands on, including a twenty-five-year relationship with Lady Louisa Ashburton that took place after a lengthy affair with Lady Marian Alford and non-royals like Matilda Hays and Emma Stebbins, among others." (22)</li> <li>"Hosmer’s archive is in the Schlesinger Library at Radcliffe College at Harvard. Many of her handwritten letters have significant portions cut out of them. If you hold them up to the light they look like Swiss cheese. Hosmer entrusted her letters and archive to her lifelong childhood friend from Mrs Sedgwick’s school, Cornelia Crow Carr, who censored Hosmer’s lesbian life to ‘protect’ her reputation. But Hosmer’s British friends weren’t concerned about their romantic relationships. Lady Ashburton’s archive is located in the National Library of Scotland and the letters are all intact; many of them feature erotic overtones like this one: ‘I do hope you will make your figure agreeable to me again as promised!’<a class="footnotecall" id="bodyftn9" href="https://books.openedition.org/obp/8080?lang=en#ftn9">9</a>"(23) - Harriet Hosmer, ‘Lady Ashburton’, Ashburton Papers, undated (Edinburgh: National Library of Scotland, 1996), Acc. 11388-153.</li> </ul> "Later on, Miss Harriet Hosmer lived in the Hotel d'Italia, in "a cozy little room which gave a glimpse of the blue Italian sky and overlooked the Barberini Gardens." Miss Hosmer had selected this room because it made her feel close to her dear friends, the Storys, whose home was a second home to her, and where she was one of the most privileged guests admitted to their private parlor - or their boudoir rather - which they called "Little Bohemia." (Phillips, Mary. Reminiscences of William Wetmore Story. RAND, McNALLY & COMPANY 1897) HH appears in Hawthorne's Marble Faun Birthplace Watertown, MA Sex Female Nationality US-American Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harriet Goodhue Hosmer Subject The topic of the resource Hosmer, Harriet Goodhue, 1830-1908 Artists Artists--US American Artists--Sculptors--US American Gender Norms Relationships-- Intimate--Same-sex Relationships--Networks Type The nature or genre of the resource Reference Person Identifier An unambiguous reference to the resource within a given context 0021 Description An account of the resource Harriet Hosmer is one of the most well-known sculptors of the nineteenth century, esp. for <a href="https://collections.mfa.org/objects/37915" target="_blank" rel="noopener">The Sleeping Faun </a>and <a href="https://www.slam.org/collection/objects/50748/" target="_blank" rel="noopener">Zenobia in Chains</a>. Besides her art, she is most well known for masculine attire and activities. Both her father, "Dr." Hiram Hosmer, and Harriet do not conform to gender norms. Hosmer moves to St. Louis (Missouri Medical College) in 1850 and is friends with Wayman Crow who supports her social standing. In October 1851, Harriet visits Charlotte Cushman in Boston, after Cushman's first farewell tour in the US. She is close to Charlotte around 1852. In that year, she is part of the group including Charlotte who moves to Rome. Hosmer stays in Rome until the summer of 1857. Harriet Hosmer and Charlotte Cushman live together again in Via Gregoriana in Rome from 1860 to 1865. In 1865, Hosmer moves to 26 Via delle Quattro Fontane. In April 1862, her father dies which eventually brings her closer to Wayman Crow on a professional base, although they have been close friends for a longer time. She is supported by William Wetmore Story, the Brownings, and Charlotte Cushman. Elizabeth Barret Browning is particularly taken with her. In a letter to English author Mary Russel Mitford, she described Hosmer as "a great pet of mine and Robert's [...] who emancipates the eccentric life of a perfectly 'emancipated female' from all shadow of blame by the purity of her's. She lives here all alone (at twenty two) as Gibson's pupil, (while her father lives in America), – dines and breakfasts at the caffés precisely as a young would, – works from six oclock in the morning till night, as a great artist must" (May 10, 1854; qut. in<a href="https://catalog.hathitrust.org/Record/000375558" target="_blank" rel="noopener"> Meredith B. Raymond and Mary Rose Sullivan (ed. and introd.), </a><a href="https://catalog.hathitrust.org/Record/000375558" target="_blank" rel="noopener">The Letters of Elizabeth Barrett Browning to Mary Russell Mitford, 1836-1854, vol III</a>: 409) In the 1860s, she is exposed to slander about her Zenobia statue. Rumors are spread, especially by The Art Journal and The Queen, that she has not been the statue's creator. Hosmer defends herself publically in the Atlantic Monthly (Dec 1864) with her article "‘The Process of Sculpture," in which she aims to "correct the false but very general impression, that the artist beginning with the crude block, and guided by his imagination only, hews out his statue with his own hands." Hosmer is romantically linked to a number of women, among them Lady Ashburton and, most importantly, Emma Crow's sister Cornelia Carr. Carr publishes Harriet Hosmer: Letters and Memories (1912). Despite Hosmer's long presence in their shared household, Stebbins refers only once to Hosmer in Charlotte Cushman: Her Letters and Memories of Her Life (1878). To nineteenth-century readers, Hosmer also appears to be the real-life model for Hilda in Hawthorne's The Marble Faun. In this preface, Hawthorne notes: "Where [the author] capable of stealing from a lady, he would certainly have made free with MISS HOSMER'S admirable statue of Zenobia" (Riverside, 1903: xxv). gender norms/bending same-sex attraction social capital