Guide to the Goodyear Archival Collection
Table of Contents
- Collection Overview
- Biographical Note
- Administrative Notes
- Scope and Content
- Series Descriptions
- Folder descriptions
- Series 1: General correspondence
- Series 2: Research and writings, subseries 2.1: papers
- Series 2: Research and writings: subseries 2.2: bound volumes
- Series 3: Department of Fine Arts, subseries 3.1.: correspondence
- Series 3: Department of Fine Arts, subseries 3.2: Avery Collection
- Series 4: Scrapbooks
- Series 5: Posthumous
- Series 6: Visual materials, subseries 6.1: photographs, lantern slides and negatives
- Series 6: Visual materials, subseries 6.2: plates
|Project Director||Deirdre Lawrence, Principal Librarian|
|Project Manager||Deborah Wythe , Archivist & Manager of Special Library Collections|
|Project Archivist||Laura Peimer|
|Project Assistant||Ed McLoughlin|
|Preservation Consultant||Keith DuQuette|
|Preservation Assistant||Marieka Kaye|
|Archives Intern||Katherine Kennedy|
|Consulting Scholars||Mary Dean and Graham Pont|
We are extremely grateful to the Andrew W. Mellon Foundation for recognizing the value of the Brooklyn Museum’s Archives and its importance to the scholarly community. In particular, we wish to thank Angelica Rudenstine for helping us develop a plan to make these archival collections available for research. The Mellon-funded Museum Archives Initiative grant to the Brooklyn Museum has supported the staff and project activities that have culminated in the complete arrangement, description, and preservation of the Goodyear Archival Collection. In addition, initial rehousing and printing of the Goodyear photographs was accomplished from 1986 through 1988 with funding by the National Historical Publications and Records Commission and the New York State Library Conservation/Preservation Grant Program.
The Goodyear finding aid is the result of a combined effort of archivists, librarians, and scholars to organize the Goodyear Archival Collection and make the papers available to researchers. The project involved many different individuals within the Brooklyn Museum as well as outside consultants. Deirdre Lawrence was responsible for overseeing the implementation of the entire project; Deborah Wythe supervised the project and managed the technological aspects; Laura Peimer processed and described the collection; Ed McLoughlin, Katy Kennedy (intern), and Peggy Coltrera (volunteer) helped identify and catalog the visual materials. Keith DuQuette and Marieka Kaye completed the project’s preservation activities. Consulting scholars Mary Dean and Graham Pont were invaluable in reviewing the text of the finding aid and providing suggestions for publications by and about Goodyear.
As a product of the Andrew W. Mellon funded Museum Archives Initiative, this guide will be made available on-line, along with several other finding aids, to provide greater access to the research collections held in the Brooklyn Museum Libraries and Archives. We hope these tools will benefit researchers for many generations to come.
|Creator||Goodyear, William Henry|
|Title||Goodyear Archival Collection|
|Abstract||William Henry Goodyear was the Brooklyn Museum’s first curator of fine arts and an art and architectural historian. The Goodyear archival collection contains records relating to his work as curator and to his scholarly work, specifically his research on architectural refinements in medieval buildings in countries throughout Europe, Turkey, Egypt and Greece. Among the materials of note are correspondence with colleagues and friends including art historian A. Kingsley Porter; scrapbooks containing newspaper clippings, letters, and photographs which document his research and career; and numerous photographs of gothic churches and cathedrals taken during his survey expeditions abroad. Other images include museums in Italy and photographs of the Paris Exposition of 1900. Digital images are available for many of the visual materials.|
|Language(s)||English, French, German, Italian|
This collection is open to researchers by appointment.
William Henry Goodyear (1846–1923) was the Brooklyn Museum’s 1 first Curator of Fine Arts from 1899 to 1923. In addition to being a vital force in the early years of the Museum’s Fine Arts Department, Goodyear was dedicated to research in art history and architectural theory, which he began pursuing during his post-collegiate education in Europe and continued until his final days at the Brooklyn Museum. He spent much of his life developing and promoting his theory of architectural refinements, often lecturing and exhibiting on the subject and attracting both supportive and critical reactions. Goodyear’s professional work and research had an influence on the fields of museology, art, and architectural history and his accomplishments have left an enduring impression.
William Henry Goodyear was born in New Haven, Connecticut, the son of Charles Goodyear (1800–1860), the inventor and developer of the vulcanization process of India rubber, and Clarissa Beecher. From 1852 to 1858 Goodyear lived in France and in England, attending schools in Ventnor and Norwood. He eventually returned to New Haven and entered Yale University in 1863. After graduation in 1867 he traveled to Germany and pursued studies in Roman law and archaeology at the universities of Heidelberg and Berlin.
Goodyear first became interested in art history at Heidelberg in the early spring of 1868. He returned to Berlin the following autumn to study under Professor Karl Friederichs, an authority on casts of ancient Greek and Roman sculpture. In 1869 Friederichs invited Goodyear to accompany him to Cyprus to examine the Cesnola collection of Cypriot antiquities. There he made the acquaintance of General Louis Palma di Cesnola, Metropolitan Museum of Art Director from 1879 to 1904, who later helped bring Goodyear to that institution. From Cyprus, Goodyear journeyed to Syria, Palestine, and Italy. He spent three months in Italy in 1870, including a week in Pisa.
At Pisa Cathedral Goodyear made his first observation of architectural irregularities, which he named architectural refinements. In essence, architectural refinements are deviations and imperfections in a building’s design, which are employed by the architect purposefully and are not due to poor construction or structural failure. Goodyear concluded that these asymmetrical subtleties were intended to charm the eye and bring a dynamism and vitality to the construction. He observed that “the very apparent sloping cornices on the exterior of the Cathedral at Pisa were built in this manner in order to increase the apparent length of the building when viewed by the spectator from a certain point.” 2 He would return to the study of this phenomenon some years later with intense dedication.
After returning to the US in 1871, Goodyear married Sarah M. Sanford of Cleveland, Ohio—a union that would last for seven years. He began a career as a teacher, and in 1874 as a lecturer on the history of art and civilization. For many years he filled teaching and lecturing engagements in various educational, social, and art institutions throughout the United States, including the University of Chicago and the Cooper Union for the Advancement of Science and Art in New York. It was in 1874, as well, that Scribner’s Magazine published his first essay on architectural refinements. This article, “The Lost Art,” examined the architectural asymmetries of cathedral buildings at Pisa. Charles Eliot Norton, professor of art history at Harvard University at the time, hailed Goodyear’s article as “the most important contribution to the topic since Mr. Ruskin wrote The Seven Lamps.” 3
In 1879 Goodyear married Nellie F. M. Johns, with whom he fathered five children: Mary Lord, Catherine, Charles, Jane Eleanor, and Rosalie Heaton. The marriage ended some years later and in 1897 Goodyear married Mary Katharine (Kate) Covert.
Goodyear’s Professional Career
Goodyear’s museum career began in 1881, when he was appointed curator at The Metropolitan Museum of Art in New York. 4 After three years he was given the title curator of paintings. He left that post in 1888 due to strained relations with the director, although later in his career he would attempt to return to employment at the Metropolitan Museum. From 1890 to his death in 1923, Goodyear was associated with the Brooklyn Institute of Arts and Sciences (BIAS), the parent organization of the Brooklyn Museum. 5 He became titular curator of the Institute in 1890 and salaried curator of fine arts in 1899, shortly after the Institute’s new museum building opened. His responsibilities as curator were far-reaching and included overseeing the development and maintenance of the Museum’s collection of European and American paintings, ancient art, casts of Classical and Renaissance monuments and sculpture, and other miscellaneous art collections, as well as designing exhibitions and installations. One of his first accomplishments at the BIAS was the founding, in December 1899, of the Brooklyn Children’s Museum, modeled on the Paris Musée Scholaire. 6 Goodyear also initiated an illustrated lecture series on the history and geography of fine arts, which led to the development of the Museum’s lantern slide collection. In 1900 the Brooklyn Institute sent him to Paris with photographer Joseph Hawkes to photograph the Paris exposition. Goodyear and Hawkes photographed various sites at the exposition and Hawkes colored the slides of the images. On his return, Goodyear used these slides to illustrate his lectures on the exposition.
By the turn of the century, Goodyear had earned a solid reputation as an art historian. He considered himself an expert on art and architecture, sculpture, painting, and decorative and industrial art of all periods. He published full scale works in art history, notably A History of Art (1888), Roman and Medieval Art (1893), and Renaissance and Modern Art (1894), in addition to writing numerous articles for journals. 7 In 1891 he visited Egypt to secure material for his work The Grammar of the Lotus. This book explored the history of classic ornament as a development of sun-worship and the influence of the lotus form in art. 8
Throughout his career, Goodyear continued his study of architectural refinements, organizing survey expeditions throughout Europe, Egypt, and Turkey. He visited medieval churches, cathedrals, and mosques, noting various types of refinements such as widening piers, curves in place of horizontal lines, and leanings of towers and church facades. 9 During these expeditions he collected measurements and took numerous detailed photographs illustrating the refinements. This research provided him with the evidence to expand and solidify his theories. With missionary zeal, he organized installations and exhibitions of cathedral images, delivered numerous slide lectures, and wrote detailed scientific articles about his research.
Goodyear’s discoveries of refinements in Pisa Cathedral in 1870 were followed in 1891 by his observations of horizontal curves of the Maison Carrée at Nîmes in southern France, the first observations ever made of curves in a Roman temple. Convinced that medieval architectural refinements are largely derivations from classical sources, Goodyear endeavored to prove the widespread existence of deliberate irregularities in the construction of medieval churches and cathedrals in Europe.
Goodyear’s 1895 Italian expedition was the first of a series of trips abroad during where he documented medieval cathedrals and churches, recording evidence of architectural refinements through the use of photographs that incorporated a surveyor’s rod, plumb lines, compasses, and other devices to show curves, widening, and leanings in architectural construction. Other major expeditions followed, financed by the Museum with the assistance of outside contributors. One avid supporter was Emma (Mrs. August) Lewis who contributed funds for survey expeditions and publications throughout Goodyear’s career. Goodyear credits Emma Lewis with suggesting the first expedition and for making the first contribution.
Ultimately, Goodyear hoped to publish his findings and observations on medieval architecture as a scholarly book, a goal that he never met. His results, however, were published from time to time in articles in the American Journal of Archaeology, the Architectural Record; the American Architect; the Architect and Contract Reporter (London); Building News and Engineering Journal (London); Architectural Review (London); Journal of the Archaeological Institute; Journal of the Royal Institute of British Architects; Reports of the Smithsonian Institution; Revue de L’Art Chretien; Brooklyn Institute Bulletin; and in a Brooklyn Museum publication series, Memoirs of Art and Archaeology.
the general purpose of the expeditions carried out on behalf of the Museum was to make surveys and measurements, and to obtain negatives available for enlargement, bearing on the question whether so-called architectural refinements, that is to say, subtleties of construction intended to give optical interest to the buildings, were practiced during the medieval period. 10
Summary of Survey Expeditions: 11
Italy (circa May – October). Included visits to Ancona, Arezzo, Assisi, Bari, Bologna, Borgo San Donnino, Chiusi, Cremona, Ferrara, Fiesole, Florence, Foligno, Genoa, Girgenti, Lucca, Milan, Modena, Naples, Orvieto, Padua, Paestum, Palermo, Pavia, Perugia, Piazcenza, Pisa, Pompeii, Ravello, Ravenna, Rimini, Rome, Ruvo, Santa Maria del Giudice, Selinus, Siena, Toscanella, Trani, Troja, Venice, Verona, Vetralla, Vicenza, Viterbo, Volterra.
Sites visited included San Nicola, Bari; Troja Cathedral; San Paolo Fuori, Rome; San Pietro, Toscanella; Santa Maria Della Pieve, Arezzo; Siena Cathedral; San Michele, Lucca; Pisa Cathedral; San Marco, Venice; San Lorenzo, Vicenza; San Michele, Pavia; Sant’ Ambrogio and Sant’ Eustorgio, Milan.
Italy (July – September). Included visits to Arezzo, Bologna, Brescia, Burano, Calci, Cavalieri, Cremona, Este, Florence, Genoa, Lombardy, Lucca, Mantua, Massa Marittima, Milan, Murano, Naples, Orvieto, Parma, Pavia, Pisa, Pozzuoli, Rome, Sarzana, Siena, Testa, Torcello, Venice, Verona, Vicenza.
Sites visited included the Cathedral, Tower, San Nicola, San Paolo a Ripa d’Arno and other churches in Pisa; Sant’ Ambrogio, Milan; San Marco, Venice.
Northern France, Austria, and Turkey (July – September). Included visits to Amiens, Angoulême, Bayeux, Beauvais, Caen, Chalons, Chartres, Coutances, Dol, Evreux, Laon, Lisieux, Noyon, Paris, Pontorson, Rheims, Rouen, Soissons; Strassburg; Vienna; Istanbul.
Sites visited included Notre Dame, Paris; Noyon Cathedral; Amiens Cathedral; Church of S. Sophia, S. Mary Diaconissa, Church of the Monastery of the Chora (Korah), Balaban Aja Mesjid, Istanbul; Strassburg Cathedral.
Northern France and Northern Italy (July). Included visits to Amiens, Paris, Milan, Venice, Vicenza.
Sites visited included Amiens Cathedral; San Marco, Venice.
France (May – August). Included visits to Amiens, Beauvais, Chalons, Laon, Noyon, Paris, Rheims, Rouen, St. Quentin.
Sites visited included Amiens Cathedral; St. Loup, Chalons; St. Ouen, Rouen; Notre Dame, Paris.
Italy and France (May – June). Included visits to Florence, Pisa, Paris, Rouen.
Sites visited included Cathedral, Tower, and Baptistry at Pisa; Notre Dame, Paris.
Egypt, Greece, Turkey, Europe, Ireland, and England (February – August). Included visits to Abydos, Cairo, Efou, Illahun, Thebes, Salonica, Istanbul, Vienna, Cologne, Ostend, Aix-la-Chapelle, Dublin, Bristol, Canterbury, Chester, Chichester, Durham, Exeter, Gloucester, Hereford, Hexham, Lichfield, Lincoln, London, Peterborough, Salisbury, Tewkesbury, Winchester, Worcester, York.
Sites visited included St. Demetrius, Salonica; St. Sophia, St. Mary Diaconissa, Balaban Aja Mesjid, Istanbul; St. Patrick’s and Christ Church, Dublin; St. John’s, Chester; Temple Church, London; Salisbury Cathedral; Lichfield Cathedral.
Exhibitions of Survey Photographs
Goodyear’s survey photographs—which he believed scientifically documented the planned irregularities in the construction of churches, cathedrals, and mosques throughout Europe and the Middle East— were the real evidence that upheld his architectural theories. While his measurements and notes gave him material for numerous publications and lecture topics, Goodyear displayed his impressive visual library in exhibitions. Creating enlargements of his survey photographs, he used exhibitions, oftentimes in conjunction with lecture tours and detailed catalogs, as a way of impressing upon the public the validity of his arguments.
Generally, Goodyear received favorable press regarding his photographs. He noted that “on account of their large dimensions, unusual points of view and remarkable details, the photographs are of great value and interest as architectural illustrations of important monuments, even without reference to the special features which they also illustrate.” 12
Chronology of Architectural Refinement Exhibitions:
December 28, 1895 – January 25. Exhibition of the entire collection of enlarged photographs of Ancient and Medieval Italian Architecture and Archaeology, Brooklyn Institute art galleries.
June 9 – 25. Photographs and bromide enlargements, selected galleries of the Brooklyn Art Association.
September 15 – 22. Two hundred enlarged photographs of Italian architecture exhibited at the meeting of the British Association for the Advancement of Science in Liverpool, England.
October 29 – January 16, 1897. Exhibition of the collection of enlarged photographs of ancient and medieval Italian architecture and sculpture, Brooklyn Institute art galleries.
|1899||October 1899 – 1908.
Installation of the collection of enlarged photographs of ancient
and medieval Italian architecture and sculpture, Brooklyn Museum.
This installation expanded over time to include photographs of medieval and renaissance architecture from Goodyear’s additional survey expeditions.
|1904||April 21 – May 15. Photographs of the French Cathedrals, Boston Public Library (86 enlargements).|
April 3 – June 26. Exhibition in Rome organized under the auspices of the Architectural Society of Rome. The space included 150 feet of linear hanging space and 40 enlarged photographs.
September 6 – November 11. Scottish National Portrait Gallery in Edinburgh under the auspices of the Edinburgh Architectural Association and with the support of the Royal Institute of British Architects.
Goodyear prepared for this exhibition with about 300 photographs covering 550 feet of linear wall space and 60 large cartoons of surveys, plans, and elevations. Forty-seven of the exhibition pieces were enlargements that were made in Edinburgh from the negatives taken in Europe in 1905. Goodyear produced a detailed, illustrated catalog to the exhibition, entitled Edinburgh Exhibition of Architectural Refinements, in addition to participating in dinners and events and giving numerous lectures.
|1909||Installed April and May. Exhibition
of architectural surveys and photographs, Brooklyn Museum East
Comprising approximately 630 photographs and covering some 2,000 linear feet, this exhibition was an expansion of the installation begun in October 1899. In a review of the show, the New York Times was duly impressed:
|1912||November 9. Opening of Avery Hall,
Columbia University. 14
The first two floors were occupied by the Avery architectural library and the remaining two by the School of Architecture. For the opening reception, Goodyear installed an exhibition of enlarged photographs, many of which were taken during the 1910 survey expedition and included Milan and Notre Dame Cathedrals and the two cathedrals of Pisa.
May. Exhibition of enlargements and drawings, National Museum in Dublin.
At the end of his 1914 expedition, Goodyear traveled to Ireland to give a short course of lectures and to set up an exhibition. The exhibition was arranged by the Classical Association and the Architectural Societies of Ireland.
October 27 – November 4. Exhibition of photographs and surveys of medieval buildings at the Brooklyn Museum for meeting of the Architectural League of New York City.
The exhibition contained 466 photographs and 48 measured drawings of plans, sections, and elevations. Images included St. Sophia in Constantinople; Notre Dame, Paris; Amiens Cathedral; and Pisa Cathedral.
January 9 – February 7. Exhibition of enlargements, Fine Arts Department, Yale University.
March 3 – 10. Exhibition of enlargements, Pennsylvania Academy of Fine Arts. Under the auspices of the T-Square Club and the Philadelphia Society of the American Institute of Architects. The exhibition was open for one week and included two lectures.
|1918||July 14 – November 4. French Cathedrals and Churches in the War
Zone, Brooklyn Museum.
This exhibition included 68 enlargements for Notre Dame, 55 for Amiens and 25 for Rheims, and enlargements of cathedrals in Laon, Noyon, Beauvais, and Soissons. A reviewer noted in The Sun that “Prof. Goodyear’s researches have the disturbing effect of calling attention to some of the lost arts of building—does it not at least hint that the restorations into which an eager world is about to plunge, once the war is terminated, should be entered into with a degree of caution?”
|1919||French Cathedrals and Churches in the War Zone. Exhibition traveled to institutions such as the Detroit Institute of Art (January), Cincinnati Art Museum (April), and the Art Museum of Toronto.|
|1921||November 22 – December 12. Enlargements at the Carnegie Institute in Pittsburgh, Pennsylvania.|
Architectural Refinements Publications
During the time he was traveling and organizing exhibitions, Goodyear published many articles, letters, and reviews in scientific, architectural, and literary journals and newspapers. While he had published full-length works on art history, Goodyear did not publish his first book devoted entirely to refinements until 1912. Goodyear described Greek Refinements as a “long-needed addition to the knowledge of Greek temple architecture, considered as a wholly independent study. Up to date there has been no book for general readers on the subject of the Greek refinements.” 17
Many reviewers were impressed with Greek Refinements and remarked on his exhaustive research and the numerous illustrations which “included 120 subjects, among them a number of photographs of the Greek horizontal curves in the South Italian and Sicilian Greek temples, which are the only extant photographs on this subject for these temples.” 18 Goodyear also received many congratulatory and laudatory letters from friends and colleagues.
After the publication of Greek Refinements, Goodyear planned to complete a work on medieval refinements using the extensive notes and photographs from his survey expeditions. In response to Salomon Reinach’s review of Greek Refinements, Goodyear wrote that “you have read between the lines of my book as no other critic has, realizing that I was laying a foundation for later work if my life is spared.” 19 Outside observers noted as well that “though he has published magazine articles on his results, his magnum opus is still to appear. The present volume may indeed be considered as a first installment, since a thorough treatment of Greek practice is essential as a foundation, specially in view of the possibility of a direct historical transmission of the horizontal curvatures.” 20
Due to responsibilities at the Museum, lecturing and exhibition tours, and lack of funding, a book on medieval refinements was to remain a permanently pending project. Goodyear’s friends, including artist Wilford S. Conrow and art historian A. Kingsley Porter, endeavored to publish a compilation of his research work on this topic with support from the Brooklyn Museum after his death, but the definitive final book was never produced. 21
Response to Goodyear’s Work
Goodyear’s work at the Brooklyn Museum and his architectural research gained him international recognition. He received many honors from educational, art, and architectural institutions. Among these were an honorary Master of Art degree from Yale University in 1904; honorary membership in the Architectural Associations of Rome and Edinburgh (1904–5), Royal Academies of Milan and Venice (1906–7), Society of Architects, London (1905); corresponding membership in the American Institute of Architects (1907); honorary and corresponding membership of the Royal Institute of the Architects of Ireland (1915), and membership in the Brooklyn Society of Artists (1919).
In addition to receiving support and praise for his architectural research from many of his colleagues—including Professor John Beverly Robinson of Washington University, St. Louis, who incorporated the study of refinements in his architectural courses—Goodyear did encounter some criticism. One of his most adamant critics was the English archaeologist, John Bilson. In a series of articles in the Journal of the Royal Institute of British Architects, Goodyear and Bilson debated the finer points of architectural refinements. For example, John Bilson asserted that “the deviations from the normal in Amiens Cathedral which Mr. Goodyear believes to be intentionally constructed ‘refinements’ are nothing of the kind; they are merely the accidental results of movements which have taken place in the structure, of which movements conclusive proof is afforded both by the recorded history and by the present condition of the building.” 22 Goodyear replied that Bilson’s argument “is a very sad indication of his prejudice and bias, and of his want of discretion, that he should be willing to base a wholesale condemnation of the given architectural investigation on the assertion that I have made a mistaken observation in one cathedral.” 23
The legacy of Goodyear’s life’s work can be appreciated in the building designs of some of his contemporaries. For instance, architects G. L. Heins and C. Grant LaFarge designed the interior plans for the Cathedral Church of St. John the Divine in New York with refinements specifically utilizing Goodyear’s observations. This was the first modern large-scale architectural work that employed refinements. 24 Architect William Welles Bosworth announced his intention to introduce asymmetries into his design for the façade of the Fifth Avenue Baptist Church, a house for J. D. Rockefeller, Jr., and buildings on the campus of Massachusetts Institute of Technology. The architect R. M. Butler applied refinements in New Church in Newport, County Mayo, Ireland, in 1917. C. L. Borie applied them to the plan of the Philadelphia Museum of Art, 25 as did Donald Robb and Philip Hubert Frohman in Washington Cathedral, and archtiects Ralph Addams Cram and Robert Tappan in the Swedenborgian Church in Bryn Athyn.
it was a memorable occasion for me, considering the ridicule and even malice to which I have been subjected, and the wide-spread influential denials still current in England and in France that the Middle Ages ever purposely constructed churches of the kind which is now seen at Bryn Athyn. On the whole, I am inclined to think that my presence at the dedication was the greatest event in my life. 26
William H. Goodyear died in 1923 of pneumonia and was buried in Green-Wood Cemetery in Brooklyn. Wilford S. Conrow, who had painted his portrait in 1916 [BMA, Department of Painting and Sculpture, 25.182], wrote a memorial to his life and work for the Brooklyn Museum Quarterly of July 1923. In this piece Conrow further emphasizes and praises the importance of the discovery of architectural refinements in Goodyear’s life and the value of his work to the fields of architecture and art. He concludes by stating that “our present duty, the responsibility that we must accept, is to preserve and spread this precious, long-lost knowledge in order that it may play its full, qualifying role in the creative arts of the future.” 27
In addition to this finding aid, two database tables have been developed to provide more detailed access to the collection: folder-level descriptions and an inventory of photographs.
The folder description database provides free-text search capability to brief synopses of folder contents for all materials in the collection. Thus, researchers may specify names, topics, titles, and types of materials (e.g., clippings, brochures) and receive a list of folders whose descriptions contain those terms. The date range information included in the database allows researchers to select materials from a particular part of Goodyear’s life. It should be noted that although the folder descriptions are extensive, they are by no means exhaustive. Only information deemed of some significance was recorded. A printout of the folder descriptions is included in the finding aid.
The primary access point for the photographic images is the original annotations by Goodyear or printed information regarding the image. When necessary, brief descriptive captions were created. Each photograph was given a numerical identifier, oftentimes in addition to a number given by Goodyear.
Processing, arrangement, and description
The project archivist observed the following processing guidelines: folded materials were flattened; deteriorating paper and newsprint were photocopied and removed; oversize materials were placed in appropriate containers; photographs were removed and placed in photograph storage; all materials removed were replaced by a separation sheet noting their disposition. Due to their fragile condition, pages in the scrapbooks [4.1] were photocopied and the originals housed in separate folders.
At the start of the project, the collection was found in folders, but disorganized. The original order of the papers was difficult to detect, with the exception of series 3. 28 An organizational scheme was created which was intended to provide a framework based on the logic of the materials, and the materials were arranged to fit this scheme.
Series and subseries titles reflect the imposed scheme; folder titles, whenever possible, transcribe information from the original folder or enclosure. Folder descriptions were created during processing and are intended to provide information on significant correspondents and topics covered.
In addition to binders of vintage photographs, sets of prints were created for images which have corresponding negatives, including the 1895 survey expedition, 1900 Paris Exposition, and select images from the 1903 and 1914 survey expeditions.
Terminology and Abbreviations
Folder descriptions generally use Goodyear’s own terms for names of sites, cities, and individuals. Because he sometimes varied spellings for names of churches and towns in Europe, the folder-level descriptions and inventory of photographs reflect these inconsistencies.
Goodyear also employed various terms to describe specific types of refinements. In order to make searching more effective, the term architectural refinements generally refers to all types in the folder descriptions. In rare cases, widening refinements and Greek refinements have been used in the folder descriptions when referred to as such in the collection. Other terms that can be found in the collection include architectural deflections, temperamental architecture, irregularities, curvatures, purposed deflections, constructive widening, asymmetries, optical refinements, and medieval refinements.
Scope and Content
|Goodyear Archival Collection|
|Dates||1874–1940 (bulk 1890–1923)|
|Series 1||General correspondence|
|Series 2||Research and writings|
|2.2: bound books|
|Series 3||Department of Fine Arts|
|3.2: Avery Collection|
|Series 6||Visual materials|
|6.1: photographs, lantern slides, and negatives|
The Goodyear Archival Collection 29 documents the professional life of the Brooklyn Museum’s first curator of fine arts and, according to some, America’s first architectural historian. 30 The collection provides information on his curatorial responsibilities at the museum and traces the progress of his architectural research—research that was partly funded by the Museum but was separate from his role as curator. Materials stem almost exclusively from the years of his tenure at the Brooklyn Museum (1890–1923), although there is some earlier material relating to his scholarly work. The collection includes records created after his death by friends and colleagues, including correspondence pertaining to the posthumous publication of Goodyear’s writings on medieval refinements, and Wilford Conrow’s memorial to Goodyear. There is very little personal information regarding home life and nonprofessional or nonscholarly activities. A few references to family can be found in the collection, such as to his father Charles and his legacy, and obituaries of his wife Kate and cousin Nelson.
The collection is comprised of a wide variety of materials, including correspondence, expedition diaries, notes, lectures, reports, writings (both published and unpublished), photographs, plates of photographs, lantern slides, clippings, and scrapbooks. The Archives’ artifact collection (S09) also includes Goodyear’s surveyor’s rod and a tripod, instruments which helped Goodyear record measurements of architectural construction during his survey expeditions.
Correspondence makes up the bulk of the collection and discloses fundamental information on Goodyear’s work. Goodyear’s institutional responsibilities are reflected in letters exchanged with Museum personnel, trustees, and donors of collections. These records reveal both his administrative responsibilities and his impact on the development of the Museum’s mission and collections.
Goodyear also corresponded with many colleagues and supporters who were good friends, among them archaeologist and art historian A. Kingsley Porter, artist Wilford Conrow, American Architect editor William Crocker, and patron Emma Lewis. In these letters he expresses interest and support for others’ work, in addition to discussing his own professional activities, frustrations with his career, and plans for his research on architectural refinements—an area of study that he was devoted to throughout his career.
Goodyear’s scholarly pursuits on refinements are revealed throughout the entire collection. Correspondence, notes, typescripts, articles, expedition diaries, and scrapbooks all provide a detailed account of the development of his research. In addition, there are numerous photographs of cathedrals and mosques (many taken by Goodyear himself), illustrating his theory of architectural refinements and providing a record of medieval church architecture as it appeared between 1895 and 1914.
The collection also includes an extensive set of photographs and lantern slides of buildings, monuments, and other views taken during the Paris Exposition of 1900, presenting a visual tour of the exposition with little supporting written documentation.
Supplementary records from Goodyear’s tenure, particularly those relating to departmental functions and art objects, may be found in archival records from the Registrar’s Office, Department of Asian Art, and Department of Painting and Sculpture. Some object-related records remain in permanently active departmental files.
Additional Goodyear records can be found in other repositories. Of note are the A. Kingsley Porter papers at Harvard University and the John Weir Papers and Charles Sheldon Hastings Papers at Yale University. The National Museum of American History, Smithsonian Institution, holds 199 silver gelatin paper print enlargements of the 1900 Paris Exposition photographs. Five hundred and sixty-four enlargements of architectural refinements photographs (1895–1905), which Goodyear used in exhibitions, were donated by the BIAS to the National Museum of American History in 1901 and then transferred to the Cooper-Hewitt National Design Museum, Smithsonian Institution, in 1974.
The majority of Goodyear’s publications are held by the Brooklyn Museum Libraries.
Series 1: General correspondence (incoming and outgoing)
|Dates||1887–1923, n.d. (bulk 1903–1923)|
|Extent||3 DB (1.25 l.f.)|
Correspondence in the Goodyear collection focuses largely on Goodyear’s architectural refinements research. He exchanged letters exploring many pivotal episodes and projects in his life with an international group of prominent architects, scholars, art historians, book dealers, publishers, editors, museum administrators, and representatives from scholarly and professional organizations. He reflected on his survey expeditions to Europe, discussed his exhibitions, and corresponded with editors of scholarly and architectural journals regarding his articles and publications. These letters also record his reactions to the application of architectural refinements in contemporary buildings, and to the critics of his research such as John Bilson and E. S. Prior.
This series contains many letters to and from individuals who played important roles throughout Goodyear’s life. These supporters and friends include his patron Emma (Mrs. August) Lewis, with whom he discusses his survey trips and career at the Brooklyn Museum; A. Kingsley Porter, an archaeologist and art historian, who both offered support to Goodyear and accepted advice and guidance from him; Wilford S. Conrow, who painted his portrait and composed his memorial in the Brooklyn Museum Quarterly; William H. Crocker, the editor of the journal American Architect, who was an early supporter and publisher of Goodyear’s articles; Jay Hambidge, whose work on Greek design Goodyear strongly supported; and Raymond Pitcairn, an attorney who was involved in the building of the Bryn Athyn Church and who supported the use of refinements. Of note is an early letter to American Egyptologist Charles Edwin Wilbour in which Goodyear discusses his developing theory of architectural refinements in medieval cathedrals. He writes that “I am also very much in need of someone to spend an hour in Pisa and tell me then whether I am a lunatic—by looking at leaning columns with bases ground off.” 31
Goodyear also corresponded throughout his life with colleagues and admirers of his father Charles, the scientist who invented the process of vulcanizing rubber. There are many letters from individuals who wanted to memorialize his father through art or publication.
This collection of correspondence also includes notes, photographs, postcards, and clippings. For additional correspondence regarding his research see series 3.1 and 4.1.
Series 2: Research and writings
|Extent||1.5 DB, 4 inches legal size, 7 volumes (1.75 l.f.)|
This series contains Goodyear’s research material regarding his work on architectural refinements, including drafts of articles, notes and measurements, checklists, illustrations and photographs, and clippings by and about Goodyear and his architectural theory. The survey expedition diaries, his writings, and information on the preparations for major exhibitions of his cathedral photographs in Edinburgh and Dublin, are of particular note.
The materials have been divided into two subseries based on format. For further information relating to Goodyear’s research, see series 4.1.
Subseries 2.1: papers
|Extent||1.5 DB, 4 inches legal size (1 l.f.)|
This subseries consists of nonbound materials, including research notes and checklists, drafts of publications, and published articles by and about Goodyear that reveal the progression of his research. Of note are drafts of works that consolidated his research on the Pisa Cathedral and other medieval cathedrals; illustration layouts and a draft table of contents for his first full-length published work on the early manifestation of refinements, Greek Refinements (1912); lists of photographs and expenditures from Goodyear’s survey expeditions of 1903, 1907, and 1910; and notes and lecture information relating to the Edinburgh exhibition of refinement photographs (1905).
Subseries 2.2: bound volumes
|Extent||7 volumes (7.5 l.f.)|
This subseries contains diaries from Goodyear’s survey expedition trips to Europe in 1901, 1903, and 1907. In these volumes, Goodyear recorded information such as lists of illustrations; notes; agendas and travel schedules; names of sites visited; measurements; refinements observed; evaluations of photographs and negatives; names of individuals contacted during his travels, such as Museum personnel, engineers, and architects; personal information regarding his health; and a list of Museum lectures for the 1901–1902 season.
In addition, this subseries includes three volumes of notes for Goodyear’s 1891 publication The Grammar of the Lotus, which he used to formulate and support his theories regarding the lotus form in ornamentation. These volumes contain notes and illustrations of architectural details, forms, and ornaments. This group of records also contains a volume listing names and addresses of Museum personnel, scholars, architects, and friends; a schedule of appointments and lectures; and financial information.
Series 3: Department of Fine Arts
|Extent||2.5 DB, 2 volumes (1.3 l.f.)|
This series consists of correspondence written during Goodyear’s term as curator of fine arts at the Brooklyn Museum and contains information relating to his role at the Museum. It provides details on objects offered to the Brooklyn Museum, Goodyear’s administrative responsibilities, and the working relationship between the Brooklyn Institute of Arts and Sciences and the Museum.
Divided into two groups of records, the first is a chronological set of letters written by and to Goodyear regarding his curatorial work and the development of the department, galleries, and collections. The second group comprises correspondence and other writings related to the art collector Samuel Putnam Avery, focusing largely on his donation of Chinese cloisonné enamels and the publication of the Avery Collection catalog.
Subseries 3.1: correspondence
|Extent||1.5 DB, 2 volumes (.9 l.f.)|
Many of the letters in this subseries are written to or from the director of the Brooklyn Institute of Arts and Sciences, Franklin W. Hooper; Curators-in-Chief Alfred G. Mayer (1904), Frederic A. Lucas (1904–1910); and Edward L. Morris (1911–1912); and Museum trustee A. Augustus Healy, among others.
These letters reveal information about Goodyear’s responsibilities in various aspects of Museum business. Included are topics such as the maintenance of collections; varnishing and hanging of paintings; ordering cases for objects; upkeep of the galleries; staff issues; developments in the department; and potential gifts, loans, and purchases of works of art. Art acquisitions of particular note include a collection of china donated by Alfred Duane Pell, works of art given by A. Augustus Healy, and books and photographs purchased from Alfred P. Maudslay.
Some correspondence in this subseries overlaps with letters in series 1.1 and 3.2: letters regarding the Avery Collection catalog, 32 and a few letters from Goodyear addressed to fellow architects and scholars such as Henry de Geymuller and Camille Enlart regarding his architectural refinement publications, photography exhibitions, lectures, and survey work.
This subseries also contains two letterpress books of chronologically sorted outgoing letters from Goodyear to various art collectors, Museum personnel, architects, and scholars. Some of the correspondence in the bound volumes is duplicated in files; the loose copies were retained because they are more legible.
Subseries 3.2: Avery Collection
|Extent||1 DB (.4 l.f.)|
Arranged chronologically and by format
Samuel Putnam Avery (1847–1920), a prominent art dealer who supported various cultural institutions, was a member of the Board of Trustees of the Brooklyn Institute of Arts and Sciences. He donated many objects to the Brooklyn Museum, including enamels, textiles, and medals. In the year of his death a newspaper article noted that his “collection of Chinese cloisonné and B. C. Chinese bronzes at the Brooklyn Institute Museum is the largest joint collection in this country.” 33
This subseries contains correspondence and object documentation, including drafts of the Avery Collection catalog written by John Getz. The letters trace the acquisition and installation of Avery’s gift of cloisonné, pekin, and champléve enamels; bronzes and gold bronzes; wall vases; and his gifts of medals and textiles.
The correspondence also touches upon Goodyear’s architectural research, including brief references to the Bryn Athyn Church, Greek Refinements, and the Brooklyn Museum’s architectural refinements exhibition. The tone of the correspondence is generally quite warm and friendly and Goodyear was often invited by Avery to visit his vacation home on Button Island at Lake Champlain in the Adirondacks.
Series 4: Scrapbooks
|Extent||7.5 DB (3.2 l.f.)|
The ten scrapbooks found in this series contain documentation collected by Goodyear to chronicle his professional life and architectural research. Through clippings, reviews, correspondence, promotional pamphlets and announcements, invitations, and photographs, the scrapbooks furnish an account of the major events in Goodyear’s life.
The correspondence, in particular, reveals his close professional relationships with other prominent architects and theorists. Many of the letters express praise and support for Goodyear’s architectural theories. There is also correspondence with Museum staff regarding Goodyear’s professional work and objects he acquired during his tenure.
The scrapbooks hold an extensive collection of articles and clippings—many collected by a clipping service—from local and international newspapers and journals. These articles from largely mainstream periodicals provide information on Goodyear’s career, the Brooklyn Museum, and his architectural theories, while offering a glimpse into how the public perceived his accomplishments.
Included, as well, are a few clippings that reveal Goodyear’s life and interests outside his architectural research and career. These consist of obituaries of family members, articles regarding the suicide of two elderly friends in Venice, and articles on Charles Goodyear and the family’s successful entrepreneurial lineage.
Series 5: Posthumous
|Extent||1 DB (.4 l.f.)|
This series contains records created after Goodyear’s death in 1923. Materials include correspondence between Wilford Conrow, A. Kingsley Porter, and others regarding Goodyear’s death and the posthumous publication of Goodyear’s work on medieval refinements; a draft of Medieval Refinements with notes; a draft of Conrow’s Brooklyn Museum Quarterly memorial; and clippings regarding Goodyear’s death and his father’s legacy. Included, as well, is a poem of remembrance entitled To My Father, written by Goodyear’s daughter, Rosalie.
Series 6: Visual materials
|Extent||15 PB, 17 vols, 20.5 DB, 4 SB, 15 drawers (56 l.f.)|
This series contains materials which provide the visual key to Goodyear’s work and architectural theories: images of medieval cathedrals, churches, and mosques; artworks in museums abroad; views of the 1900 Paris Exposition; and the 1893 World’s Columbian Exposition in Chicago. The photographs, many taken by Goodyear and photographers Joseph Hawkes and John McKecknie, demonstrate high technical quality. The architectural photographs often show rich detail, remarkable clarity, and unique perspectives while illustrating the refinements sought out by Goodyear. These images are valuable not only as evidence of architectural refinements but also because they provide a visual record of medieval churches and cathedrals before the world wars.
Subseries 6.1: photographs, lantern slides, and negatives
|Extent||5,780 images. Photographs (1,803 images): 17 vols, 13 PB, 1 DB. Negatives (884 images): 19 DB, 4 SB, 2 PB. Lantern slides (3,093 images): 15 drawers. (55.8 l.f.)|
Arranged by format; chronologically, by item number, or by subject
This subseries contains photographic prints, lantern slides, and negatives of Goodyear’s survey expeditions to Europe, Turkey, Egypt, and Greece. The images include interior and exterior views of churches, cathedrals, and mosques which display architectural refinements, often showing the plumb lines and surveyor’s rod that Goodyear used to gain accurate measurements. The series also includes a set of negatives from his tour of the Paris Exposition in 1900; negatives of art objects within Italian museums; and black and white and hand-colored lantern slides of various artworks, sites, and the 1893 World’s Columbian Exposition in Chicago, which were used for lectures. Many of the photographs and lantern slides are annotated with technical details and descriptions.
Housed with this subseries are related photographs removed from other series, where they were found in context with materials such as correspondence and articles.
Formats found in this subseries include glass negatives, copy negatives, 5 × 7″ vintage prints, 8 × 10″ vintage and modern prints, oversize vintage prints, and 3 × 4″ lantern slides.
Subseries 6.2: plates
|Extent||.5 DB, oversize (.21 l.f.)|
This subseries consists of plates of photographs and illustrations used in Goodyear’s publications and articles on architectural refinements, many of which are reproductions of the photographs taken during his survey expeditions. Included are the ground plan of St. John the Divine, interior views of French churches, and an interior view of his photography exhibition at the Boston Public Library.
Series 1: General correspondence
General corresp [1.1.001]: A. (1905-1921)
General corresp [1.1.002]: B. (1906-1923)
General corresp [1.1.003]: Batsford. (1907-1914)
General corresp [1.1.004]: Berry. (1913)
General corresp [1.1.005]: Borie, C.L. (1921-1922)
General corresp [1.1.006]: Brehier, L. (1920)
General corresp [1.1.007]: Browne. (1913-1922)
General corresp [1.1.008]: Bryn Athyn Church. (1915-1919)
General corresp [1.1.009]: C. (1908-1920)
General corresp [1.1.010]: Carnegie Institution. (1905-1906)
General corresp [1.1.011]: Choisy. (1906-1907)
General corresp [1.1.012]: Comes, John T. (1920)
General corresp [1.1.013]: Conrow. (1909-1923)
General corresp [1.1.014]: Cox. (1909-1911)
General corresp [1.1.015]: Crocker. (03/1910-11/1917)
General corresp [1.1.016]: Crocker. (1917-1919)
General corresp [1.1.017]: Crocker. (02/1919-05/1921)
General corresp [1.1.018]: Crocker. (05/1921-05/1922)
General corresp [1.1.019]: D. (1899-1914)
General corresp [1.1.020]: Day. (1913)
General corresp [1.1.021]: Deas. (1905-1913)
General corresp [1.1.022]: DeForest (legal-size folder). (n.d.)
General corresp [1.1.023]: De Grave Sells. (1913)
General corresp [1.1.024]: E. (1913-1922)
General corresp [1.1.025]: expedition & survey. (1907)
General corresp [1.1.026]: F. (1910-1922)
General corresp [1.1.027]: Frohman & Robb. (1919-1920)
General corresp [1.1.028]: G. (1906-1920)
General corresp [1.1.029]: Garnault. (1912-1913)
General corresp [1.1.030]: Goodyear, Charles. (1913-1923)
General corresp [1.1.031]: H. (1895-1923)
General corresp [1.1.032]: Hackett. (1911-1919)
General corresp [1.1.033]: Hambidge. (1916-1922)
General corresp [1.1.034]: Hamlin. (1910-1913)
General corresp [1.1.035]: Haworth. (1909-1912)
General corresp [1.1.036]: Heaton, A.G. (1899-1900)
General corresp [1.1.037]: Heaton, C. (1912-1923)
General corresp [1.1.038]: Hiersemann. (1910-1922)
General corresp [1.1.039]: Hill. (1910-1913)
General corresp [1.1.040]: Hirsch. (1911-1913)
General corresp [1.1.041]: Jaccaci. (1910)
General corresp [1.1.042]: Jones, A.M. (1918-1919)
General corresp [1.1.043]: K. (1910-1921)
General corresp [1.1.044]: Kern. (1912)
General corresp [1.1.045]: L. (1905-1921)
General corresp [1.1.046]: LaFarge. (1911)
General corresp [1.1.047]: Lanier. (1911)
General corresp [1.1.048]: Lewis. (1891-1901)
General corresp [1.1.049]: Lewis. (1904-1905)
General corresp [1.1.050]: Lewis. (1906-1923)
General corresp [1.1.051]: Lorch, Emil. (1913-1919)
General corresp [1.1.052]: M. (1904-1922)
General corresp [1.1.053]: Maine vacations. (1920-1922)
General corresp [1.1.054]: March. (1910-1912)
General corresp [1.1.055]: Mather. (1910-1919)
General corresp [1.1.056]: McClellan. (1910-1912)
General corresp [1.1.057]: Merritt. (1911)
General corresp [1.1.058]: Metropolitan Museum of Art. (1920-1921)
General corresp [1.1.059]: Middleton. (1910)
General corresp [1.1.060]: N. (1912-1922)
General corresp [1.1.061]: O. (1906-1910)
General corresp [1.1.062]: P. (1910-1922)
General corresp [1.1.063]: Pitcairn. (1917-1918)
General corresp [1.1.064]: Pitcairn. (1919)
General corresp [1.1.065]: Pitcairn. (1921-1922)
General corresp [1.1.066]: Porter. (1910)
General corresp [1.1.067]: Porter. (1911-1912)
General corresp [1.1.068]: Porter. (1913-1915)
General corresp [1.1.069]: Porter. (1916)
General corresp [1.1.070]: Porter. (1917)
General corresp [1.1.071]: Porter. (1918)
General corresp [1.1.072]: Porter. (1919)
General corresp [1.1.073]: Porter. (1920-1921)
General corresp [1.1.074]: Porter. (1922-1923)
General corresp [1.1.075]: Puento. (1911)
General corresp [1.1.076]: R. (1908-1921)
General corresp [1.1.077]: Reinach, Salomon. (1913-1916)
General corresp [1.1.078]: Revue de l’Art Chretien. (1908-1911)
General corresp [1.1.079]: Rivoira. (1911)
General corresp [1.1.080]: Robinson. (1910-1919)
General corresp [1.1.081]: S. (1910-1923)
General corresp [1.1.082]: Shonnard. (1921-1922)
General corresp [1.1.083]: Smith. (1909-1913)
General corresp [1.1.084]: Speir. (1920)
General corresp [1.1.085]: Spiers. (1909-1911)
General corresp [1.1.086]: Sturgis, Lyman. (1921-1922)
General corresp [1.1.087]: Supino. (1909-1911)
General corresp [1.1.088]: T. (1913-1919)
General corresp [1.1.089]: Tappan. (1917)
General corresp [1.1.090]: Turner. (1913)
General corresp [1.1.091]: unidentified. (1909-1921)
General corresp [1.1.092]: V. (1903-1913)
General corresp [1.1.093]: W. (1887-1923)
General corresp [1.1.094]: Woollett. (1910-1920)
General corresp [1.1.095]: Yale University. (1909-1922)
Series 2: Research and writings, subseries 2.1: papers
Research & writings [2.1.001]: architectural refinements notes. (n.d.)
Research & writings [2.1.002]: Catalogue of the Goodyear Collection of Photographs of Italian Architecture & Sculpture. (n.d.)
Research & writings [2.1.003]: L’Evasement de la Cathedrale d’Amiens. (n.d.)
Research & writings [2.1.004]: books. (n.d.)
Research & writings [2.1.005]: Recent Publications of the Brooklyn Museum. The Architectural Refinements of St. Mark’s at Venice. (n.d.)
Research & writings [2.1.006]: widening refinements notes. (n.d.)
Research & writings [2.1.007]: A Lost Art. (1874-1896)
Research & writings [2.1.008]: articles re Goodyear. (1892-1927)
Research & writings [2.1.009]: Optical Refinements. (ca.1895)
Research & writings [2.1.010]: 'Native American Stringed Musical Instruments'. (1897)
Research & writings [2.1.011]: Pisa. (1901)
Research & writings [2.1.012]: Museum Memoirs. (1901)
Research & writings [2.1.013]: photographs. (1901)
Research & writings [2.1.014]: articles by Goodyear. (1902-1920)
Research & writings [2.1.015]: Archaeological Institute of America (legal-size folder). (ca.1903)
Research & writings [2.1.016]: survey expenses. (1903)
Research & writings [2.1.017]: 'The Architectural Refinements of the Pisa Cathedral'. (1903)
Research & writings [2.1.018]: 'The Architectural Refinements of the Pisa Cathedral' (legal-size folder). (1903)
Research & writings [2.1.019]: 'The Architectural Refinements of the Pisa Cathedral' (legal-size folder). (1903)
Research & writings [2.1.020]: 'The Architectural Refinements of the Pisa Cathedral' (legal-size folder). (1903)
Research & writings [2.1.021]: 'The Architectural Refinements of the Pisa Cathedral' (legal-size folder). (1903)
Research & writings [2.1.022]: photograph enlargements (legal-size folder). (1903-1908)
Research & writings [2.1.023]: notes and checklists (legal-size folder). (1904-1908)
Research & writings [2.1.024]: 'Recent Discoveries of Architectural Refinements in Medieval Cathedrals'. (1905)
Research & writings [2.1.025]: 'Recent Discoveries of Architectural Refinements in Medieval Cathedrals'. (1905)
Research & writings [2.1.026]: Edinburgh exhibition (legal-size folder). (1905)
Research & writings [2.1.027]: Edinburgh notes (legal-size folder). (1905)
Research & writings [2.1.028]: checklist of photographs & slides (legal-size folder). (1905)
Research & writings [2.1.029]: Architects Society of Rome exhibition catalog. (1905)
Research & writings [2.1.030]: 'Institute Lecture' notes (legal-size folder). (03/1907)
Research & writings [2.1.031]: architectural research survey, expenditures. (1907)
Research & writings [2.1.032]: Brooklyn Museum architectural exhibition notes. (1909)
Research & writings [2.1.033]: photo enlargements. (1910)
Research & writings [2.1.034]: Pisa article. (1910-1911)
Research & writings [2.1.035]: 'Greek Refinements'. (1912)
Research & writings [2.1.036]: 'Greek Refinements'. (1912)
Research & writings [2.1.037]: Dublin exhibition. (ca.1914)
Research & writings [2.1.038]: Dublin exhibition & lecture. (1914)
Research & writings [2.1.039]: travel receipts (legal-size folder). (1914)
Research & writings [2.1.040]: 'The Refinements in Italian Churches'. (1916-1917)
Research & writings [2.1.041]: 'The Refinements in Italian Churches'. (1916-1917)
Research & writings [2.1.042]: RIBA members (legal-size folder). (1919)
Research & writings [2.1.043]: widening refinements lectures. (1919-1920)
Series 2: Research and writings: subseries 2.2: bound volumes
Research & writings [2.2.001]: 'Materials for A Grammar of the Lotus' Vol. I. (1891)
Research & writings [2.2.002]: 'Materials for A Grammar of the Lotus' Vol. II. (1891)
Research & writings [2.2.003]: 'Materials for A Grammar of the Lotus'. (1887-1893)
Research & writings [2.2.004]: 'Materials for A Grammar of the Lotus' Vol. III. (1891)
Research & writings [2.2.005]: addresses & lectures. (1889-1896)
Research & writings [2.2.006]: diary. (1901)
Research & writings [2.2.007]: diary. (1903)
Research & writings [2.2.008]: diary. (1907)
Series 3: Department of Fine Arts, subseries 3.1.: correspondence
Department of Fine Arts [3.1.001]. (1895)
Department of Fine Arts [3.1.002]. (01/1899-07/1899)
Department of Fine Arts [3.1.003]. (08/1899)
Department of Fine Arts [3.1.004]. (09/1899-12/1899)
Department of Fine Arts [3.1.005]. (01/1900-03/1900)
Department of Fine Arts [3.1.006]. (04/1900-05/1900)
Department of Fine Arts [3.1.007]. (06/1900-08/1900)
Department of Fine Arts [3.1.008]. (09/1900-01/1901)
Department of Fine Arts [3.1.009]. (11/1902-11/1903)
Department of Fine Arts [3.1.010]. (11/1903)
Department of Fine Arts [3.1.011]. (12/1903)
Department of Fine Arts [3.1.012]. (01/1904)
Department of Fine Arts [3.1.013]. (02/1904)
Department of Fine Arts [3.1.014]. (07/1903-02/1904)
Department of Fine Arts [3.1.015]. (02/1904-01/1905)
Department of Fine Arts [3.1.016]: casts. (1905-1912)
Department of Fine Arts [3.1.017]: Lucas, Frederic A. (1906)
Department of Fine Arts [3.1.018]: Morris, Edward L. (1911)
Department of Fine Arts [3.1.019]: Morris, Edward L. (01/1912-02/1912)
Department of Fine Arts [3.1.020]: Morris, Edward L. (02/1912-12/1912)
Department of Fine Arts [3.1.021]: Fox, William H. (1918-1919)
Department of Fine Arts [3.1.022]: receipts. (1919-1923)
Department of Fine Arts [3.1.023]: Hutchinson, Susan. (1922)
Series 3: Department of Fine Arts, subseries 3.2: Avery Collection
Department of Fine Arts [3.2.001]: Avery Collection, correspondence. (1909-1911)
Department of Fine Arts [3.2.002]: Avery Collection, correspondence. (1912)
Department of Fine Arts [3.2.003]: Avery Collection, correspondence. (1913-1917)
Department of Fine Arts [3.2.004]: Avery Collection, correspondence. (1918)
Department of Fine Arts [3.2.005]: Avery Collection, correspondence. (1919)
Department of Fine Arts [3.2.006]: Avery Collection, correspondence. (1920-1921)
Department of Fine Arts [3.2.007]: Avery Collection, catalog copy (legal-size file). (n.d.)
Department of Fine Arts [3.2.008]: Avery Collection, notes. (n.d.)
Department of Fine Arts [3.2.009]: Avery Collection, plates. (n.d.)
Department of Fine Arts [3.2.010]: Avery Collection, Robert Hoe Collection catalog. (1911)
Department of Fine Arts [3.2.011]: Avery collection, travel receipt. (1911)
Department of Fine Arts [3.2.012]: Avery Collection, Chinese bronzes & wall vases. (n.d.-1912)
Department of Fine Arts [3.2.013]: Avery Collection, cloisonne catalog. (1913)
Department of Fine Arts [3.2.014]: Avery Collection, catalog, bronzes & wall vases. (1916)
Department of Fine Arts [3.2.015]: Avery Collection, catalog text, notes. (1917-1920)
Department of Fine Arts [3.2.016]: Avery Collection, catalog, vases. (1918)
Series 4: Scrapbooks
Scrapbooks [4.1.001]: Comments and Exhibits Relating to Architectural Refinements, I. (ca.1891-04/1903)
Scrapbooks [4.1.002]: Exhibits Relating to Architectural Refinements, II. (04/1903-10/1904)
Scrapbooks [4.1.003]: Exhibits Relating to Architectural Refinements, III. (10/1904-06/1905)
Scrapbooks [4.1.004]: Exhibits Relating to Architectural Refinements, IV. (07/1905-01/1906)
Scrapbooks [4.1.005]: Exhibits Relating to Architectural Refinements, V. (12/1905-1907)
Scrapbooks [4.1.006]: Exhibits Relating to Architectural Refinements, VI. (11/1906-06/1910)
Scrapbooks [4.1.007]: Exhibits Relating to Architectural Refinements, VII. (1909-1912)
Scrapbooks [4.1.008]: 'Goodyear Personal, including Exhibits Relating to Architectural Refinements, Book Reviews for 'Greek Refinements', etc.', VIII. (1912-01/1914)
Scrapbooks [4.1.009]: 'Goodyear Personal, including Exhibits Relating to Architectural Refinements', IX. (1913-1928)
Scrapbooks [4.1.010]: X. (1909-1922)
Series 5: Posthumous
Posthumous [5.1.001]: publication outline. (n.d.)
Posthumous [5.1.002]: memorial. (1923)
Posthumous [5.1.003]: 'To My Father'. (1923)
Posthumous [5.1.004]: clippings. (1923)
Posthumous [5.1.005]: corresp. (1923-1926)
Posthumous [5.1.006]: notes. (1923-1924)
Posthumous [5.1.007]: 'Medieval Refinements' corresp. (1923-1924)
Posthumous [5.1.008]: 'Medieval Refinements' corresp. (1925-1940)
Posthumous [5.1.009]: Conrow corresp. (1923-1928)
Posthumous [5.1.010]: 'Medieval Refinements' layout (W.S. Conrow, editor). (1924-1940)
Posthumous [5.1.011]: 'Medieval Refinements' layout (W.S. Conrow, editor). (1924-1940)
Posthumous [5.1.012]: 'Medieval Refinements' layout (W.S. Conrow, editor). (1924-1940)
Posthumous [5.1.013]: 'Medieval Refinements' layout (W.S. Conrow, editor). (1924-1940)
Posthumous [5.1.014]: books by Goodyear (legal-size folder). (1925)
Posthumous [5.1.015]: Charles Goodyear. (1938-1939)
Series 6: Visual materials, subseries 6.1: photographs, lantern slides and negatives
Visual materials [6.1.001]: 1895 survey expedition photographs. (1895)
Visual materials [6.1.002]: 1901 survey expedition photographs. (1901)
Visual materials [6.1.003]: 1903 survey expedition photographs. (1903)
Visual materials [6.1.004]: 1905 survey expedition photographs. (1905)
Visual materials [6.1.005]: 1906 photographs. (1906)
Visual materials [6.1.006]: 1907 survey expedition photographs. (1907)
Visual materials [6.1.007]: 1909 photographs. (1909)
Visual materials [6.1.008]: 1910 survey expedition photographs. (1910)
Visual materials [6.1.009]: 1914 survey expedition photographs. (1914)
Visual materials [6.1.010]: survey expedition photographs. (n.d.)
Visual materials [6.1.011]: survey expedition photographs. (n.d.)
Visual materials [6.1.012]: miscellaneous photographs. (n.d.)
Visual materials [6.1.013]: Paris Exposition photographs. (1900)
Visual materials [6.1.014]: Paris Exposition photographs. (1900)
Visual materials [6.1.015]: Paris Exposition lantern slides. (1900)
Visual materials [6.1.016]: World’s Columbian Exposition lantern slides. (1893)
Visual materials [6.1.017]: Assyria. (n.d.)
Visual materials [6.1.018]: Egypt. (n.d.)
Visual materials [6.1.019]: Cypriote art. (n.d.)
Visual materials [6.1.020]: Greek art. (n.d.)
Visual materials [6.1.021]: Etruscan. (n.d.)
Visual materials [6.1.022]: Lotus. (n.d.)
Visual materials [6.1.023]: Ancient Rome. (n.d.)
Visual materials [6.1.024]: Pompeii. (n.d.)
Visual materials [6.1.025]: Ravenna. (n.d.)
Visual materials [6.1.026]: Apulia. (n.d.)
Visual materials [6.1.027]: Venice. (n.d.)
Visual materials [6.1.028]: Genoa. (n.d.)
Visual materials [6.1.029]: Pisa. (n.d.)
Visual materials [6.1.030]: Byzantine Moorish. (n.d.)
Visual materials [6.1.031]: Gothic. (n.d.)
Visual materials [6.1.032]: Florence. (n.d.)
Visual materials [6.1.033]: Renaissance. (n.d.)
Visual materials [6.1.034]: Modern architecture. (n.d.)
Visual materials [6.1.035]: Classical architecture, details. (n.d.)
Visual materials [6.1.036]: Decorative arts. (n.d.)
Visual materials [6.1.037]: Medieval art. (n.d.)
Visual materials [6.1.038]: Italian sculpture. (n.d.)
Visual materials [6.1.039]: Raphael. (n.d.)
Visual materials [6.1.040]: Michelangelo. (n.d.)
Visual materials [6.1.041]: Venetian painting. (n.d.)
Visual materials [6.1.042]: Italian painting. (n.d.)
Visual materials [6.1.043]: Spanish Flemish paintings. (n.d.)
Visual materials [6.1.044]: German paintings. (n.d.)
Visual materials [6.1.045]: Dutch paintings. (n.d.)
Visual materials [6.1.046]: French, German, English 18th century. (n.d.)
Visual materials [6.1.047]: maps. (n.d.)
Visual materials [6.1.048]: uncategorized. (n.d.)
Series 6: Visual materials, subseries 6.2: plates
Visual materials [6.2.001]: architectural refinements: plate blocks. (n.d.)
Visual materials [6.2.002]: church of St. Vitale: plate (legal-size file). (n.d.)
Visual materials [6.2.003]: architectural refinements: plates. (1895-1910)
Visual materials [6.2.004]: interiors of French churches: plates. (1903-1907)
Visual materials [6.2.005]: Boston public library exhibit: plate. (1904)
Visual materials [6.2.006]: architectural refinements: plates (legal-size folder). (1910)
Visual materials [6.2.007]: architectural refinements: plates (map case folder). (1910)
Visual materials [6.2.008]: architectural refinements: BIAS Bulletin plates. (1911)
Publications by William Henry Goodyear (in chronological order)
Selected Publications about William Henry Goodyear (in chronological order)
Exhibition and publication reviews and additional clippings about Goodyear may be found in Series 4: Scrapbooks.