Original Documents to the Novels of Nathaniel Hawthorne

Fanshaw

Hawthorne, Nathaniel. Fanshawe: A Tale. Boston: Marsh & Capen, 1828. Gift: Friends of the Library  Fanshawe, Hawthorne's first novel, is also the earliest college novel written in America. Hawthorne based his fictional "Harley College" on Bowdoin. Published anonymously and subsequently disavowed by the author, Hawthorne attempted to suppress its distribution (his friend Horatio Bridge burned his copy at Hawthorne's request). all text copyright Bowdoin College, 2009.  (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)

Title page of Fanshawe, Hawthorne's first novel (Marsh & Capen, 1828) According to the Bowdoin College Library record for this work, Fanshaweis "the earliest novel written in America, and Hawthorne based his fictional 'Harley College' on Bowdoin. Published anonymously and disavowed by the author, Hawthorne attempted to suppress its distribution (his friend Horatio Bridge burned his copy at Hawthorne's request)." (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)

The Scarlet Letter

Title page of 1850 edition of The Scarlet Letter  (courtesy of Peabody Essex Museum, Salem, MA)

House of the Seven Gables

Illustration depicting Clifford blowing soap-bubbles (cf. chapter XI "The Arched Window") from frontispiece to The House of the Seven Gables published in 1880 by Houghton, Osgood and Co., The Riverside Press, Cambridge from the Illustrated Library Edition, The House of the Seven Gables and The Snow Image, two volumes in one  (courtesy of Halldor F. Utne)

The Blithedale Romance

	Masthead of Concord Freeman newspaper, July 11, 1845 This issue of the Concord Freeman contains the announcement of the suicide drowning of Martha Hunt (courtesy of Concord Free Public Library)
	Announcement of suicide drowning of Martha Hunt from Concord Freeman, July 11, 1845  (courtesy of Concord Free Public Library)
	Cover of The Dial July, 1843  (courtesy of Fruitlands Museum)
	First page of "The Great Lawsuit, Man vs. Men/Woman vs. Women," by Margaret Fuller, July 1843 in The Dial  (courtesy of Fruitlands Museum)
	Masthead of Concord Freeman newspaper, July 11, 1845 This issue of the Concord Freeman contains the announcement of the suicide drowning of Martha Hunt (courtesy of Concord Free Public Library)
	Announcement of suicide drowning of Martha Hunt from Concord Freeman, July 11, 1845  (courtesy of Concord Free Public Library)
	Masthead of The Concord Freemanvol. XI from August 1, 1845 which contains the obituary of Martha Hunt  Hawthorne was living at the Old Manse when he was called to help look for Martha Hunt, a woman who drowned in the Concord River. This event likely inspired the drowning scene in The Blithedale Romance. (courtesy of Concord Free Public Library)
	Obituary (1) for Martha Hunt from The Concord Freemanvol. XI from August 1, 1845  Hawthorne was living at the Old Manse when he was called to help look for Martha Hunt, a woman who drowned in the Concord River. This event likely inspired the drowning scene in The Blithedale Romance. (courtesy of Concord Free Public Library)
	Obituary (2) for Martha Hunt from The Concord Freemanvol. XI from August 1, 1845 Hawthorne was living at the Old Manse when he was called to help look for Martha Hunt, a woman who drowned in the Concord River. This event likely inspired the drowning scene in The Blithedale Romance. (courtesy of Concord Free Public Library)
	Obituary (3) for Martha Hunt from The Concord Freemanvol. XI from August 1, 1845 Hawthorne was living at the Old Manse when he was called to help look for Martha Hunt, a woman who drowned in the Concord River. This event likely inspired the drowning scene in The Blithedale Romance. (courtesy of Concord Free Public Library)
	Obituary (4) for Martha Hunt from The Concord Freemanvol. XI from August 1, 1845 Hawthorne was living at the Old Manse when he was called to help look for Martha Hunt, a woman who drowned in the Concord River. This event likely inspired the drowning scene in The Blithedale Romance. (courtesy of Concord Free Public Library)
	Obituary (5) for Martha Hunt from The Concord Freemanvol. XI from August 1, 1845 Hawthorne was living at the Old Manse when he was called to help look for Martha Hunt, a woman who drowned in the Concord River. This event likely inspired the drowning scene in The Blithedale Romance. (courtesy of Concord Free Public Library)
	Obituary (6) for Martha Hunt from The Concord Freemanvol. XI from August 1, 1845 Hawthorne was living at the Old Manse when he was called to help look for Martha Hunt, a woman who drowned in the Concord River. This event likely inspired the drowning scene in The Blithedale Romance. (courtesy of Concord Free Public Library)
	Obituary (7) for Martha Hunt from The Concord Freemanvol. XI from August 1, 1845 Hawthorne was living at the Old Manse when he was called to help look for Martha Hunt, a woman who drowned in the Concord River. This event likely inspired the drowning scene in The Blithedale Romance. (courtesy of Concord Free Public Library)
	Obituary (8) for Martha Hunt from The Concord Freemanvol. XI from August 1, 1845 Hawthorne was living at the Old Manse when he was called to help look for Martha Hunt, a woman who drowned in the Concord River. This event likely inspired the drowning scene in The Blithedale Romance. (courtesy of Concord Free Public Library)
	Obituary (9) for Martha Hunt from The Concord Freemanvol. XI from August 1, 1845 Hawthorne was living at the Old Manse when he was called to help look for Martha Hunt, a woman who drowned in the Concord River. This event likely inspired the drowning scene in The Blithedale Romance. (courtesy of Concord Free Public Library)
	Obituary (10) for Martha Hunt from The Concord Freemanvol. XI from August 1, 1845 Hawthorne was living at the Old Manse when he was called to help look for Martha Hunt, a woman who drowned in the Concord River. This event likely inspired the drowning scene in The Blithedale Romance. (courtesy of Concord Free Public Library)
	Obituary (11) for Martha Hunt from The Concord Freemanvol. XI from August 1, 1845 Hawthorne was living at the Old Manse when he was called to help look for Martha Hunt, a woman who drowned in the Concord River. This event likely inspired the drowning scene in The Blithedale Romance. (courtesy of Concord Free Public Library)
	Obituary (12) for Martha Hunt from The Concord Freemanvol. XI from August 1, 1845 Hawthorne was living at the Old Manse when he was called to help look for Martha Hunt, a woman who drowned in the Concord River. This event likely inspired the drowning scene in The Blithedale Romance. (courtesy of Concord Free Public Library)

The Marble Faun

Fig 13. Illustrated title page. From "The Marble Faun" (Cambridge, Mass: Riverside Press, 1883). (courtesy of Peabody Essex Museum, Salem, MA

Images Related to the Novels of Nathaniel Hawthorne

Fanshawe

Slate Gravestone for Nathanael Mather, 1688, Charter Street Burial Ground, Salem. An Aged person / that had seen but / Nineteen Winters / in the World.Hawthorne, a frequent visitor to Salem's Charter Street burial ground, used the epitaph for Nathanael Mather, the son of Rev. Increase Mather,in his story Fanshawe. Historian Sidney Perley wrote the following about Mather: “Nathaniel Mather was son of Rev. Increase and Maria Mather of Boston, where he was born July 6, 1669. His father was president of Harvard College; and two of his brothers were Reverends Cotton and Samuel Mather. He entered Harvard at the age of twelve, and took his first degree at the age of sixteen, when he gave a Hebrew oration, so great a scholar had he become at that tender age. His acquaintance with general literature and science of those times was extraordinary; and he excelled in mathematics, classics and theology. He was a hard student and a good scholar, but too close application, probably without relaxation, produced ill health. At the age of fourteen, he dedicated himself to God. His dedication consisted of devotion to prayer for personal sanctity, and he deliberated so much and so seriously that had became morbid and melancholy. He had taken his second degree at college just before his death. He had contracted ill habits of posture of body, which, persisted in, produced effects which made him appear like an old man. He died in Salem Oct. 17, 1688, at the age of nineteen, and was buried in the Charter Street burying ground, where his gravestone still stands. It is said that his brother Cotton wrote the epitaph upon it….“ (Sidney Perley, The History of Salem, Massachusetts, Vol. 3, pp. 231-32.)  (Photography by Joseph R. Modugno)

The Scarlet Letter

• Book Covers and Illustrations

  	The Scarlet Letter, 1892 edition Cover of 1892 edition of The Scarlet Letter published by the Riverside Press in Cambridge. (narration by Dr. Philip Sbaratta}
  	The Scarlet Letter Title page of 1892 edition of The Scarlet Letter with image of Custom House (courtesy of Peabody Essex Museum, Salem, MA)
  	Title page of 1850 edition of The Scarlet Letter  (courtesy of Peabody Essex Museum, Salem, MA)
  	Cover of The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920)  (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	Cover of The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920)  (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	Title page of The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920)  (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	First page of Table of Contents of The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920)  (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	First page of list of illustrations by Hugh Thomson in The Scarlet Letter (Methuen 1920)  (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	First page of Prison Door chapter in The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920)  (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	Second page of list of illustrations by Hugh Thomson in The Scarlet Letter (Methuen 1920)  (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	Third page of list of illustrations by Hugh Thomson in The Scarlet Letter (Methuen 1920)  (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"The young woman stood fully revealed" Frontispiece from The Scarlet Letter with illustrations by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"I again seize the public by the button" Illustration for the Custom-House Introductory to The Scarlet Letterillustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"Hawthorne in the Custom-House" from p.6 of The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"Hawthorne in the Custom House"  Original watercolor illustrations by Hugh Thomson for The Scarlet Letter(1920 Methuen edition, p. 6) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"Surveyor Pue and Hawthorne" from p. 36 of The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"'Goodwives,' said a hard- featured dame, 'I'll tell ye a piece of my mind'" p. 54 from The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"A crowd of eager and curious schoolboys" p. 58 from The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"Illuminating...the dusky mirror" p. 62 from The Scarlet Letter illustrated by Hugh Thomson (Methuen1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"Hester seated herself on the bed" p. 80 from The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"There dwelt, there trode, the feet of one..." p. 86 from The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"There dwelt, there trode, the feet of one" Original watercolor illustrations by Hugh Thomson for The Scarlet Letter(1920 Methuen edition) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"Children would creep nigh enough to behold her" p. 88 from The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"Children would creep nigh enough to behold her" Original watercolor illustrations by Hugh Thomson for The Scarlet Letter(1920 Methuen edition) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"Hester at her needle" p. 90 from The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"A young maiden glancing at the scarlet letter" p. 94 from The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"She saw the children disporting themselves" p. 102 from The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"Governor Bellingham appeared to be showing off his Estate" p. 118 from The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"Usually a vast favorite with children" p. 120 from The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"Into the sunny day was thrust the face of Mistress Hibbins" p. 128 from The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"Mr. Dimmesdale's flock" p. 132 from The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"A pious widow, of good social rank" p. 138 from The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"One day, leaning his forehead on his hand" p. 144 from The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"To such an unwonted remoteness" p. 152 from The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"Good Father Wilson was moving homeward" p. 166 from The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"Good Father Wilson was moving homeward" Original watercolor illustrations by Hugh Thomson for The Scarlet Letter(1920 Methuen edition) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"A blazing spear...in the midnight sky" p. 172 from The Scarlet Letter illustrated by Hugh Thomson (1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"A blazing spear...in the midnight sky" Original watercolor illustrations by Hugh Thomson for The Scarlet Letter(1920 Methuen edition) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"None so self-devoted as Hester" p. 178 from The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"'It is our Hester'" p. 180 from The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"It is our Hester..." Original watercolor illustrations by Hugh Thomson for The Scarlet Letter(1920 Methuen edition) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"She beheld the old physician in quest of roots and herbs" p. 186 from The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"The old dame in the chimney corner" p. 206 from The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"'What does this sad little brook say, mother?'" p. 208 from The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"She beheld the minister advancing" p. 210 from The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"'So, reverend Sir, you have made a visit into the forest,' observed the witch-lady" p. 248 from The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"'So, reverend sir, you have made a visit to the forest,' observed the witch-lady" Original watercolor illustrations by Hugh Thomson for The Scarlet Letter(1920 Methuen edition) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)

• 	"They were rough-looking desperadoes" p. 260 from The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"They were rough-looking desperadoes" Original watercolor illustrations by Hugh Thomson for The Scarlet Letter(1920 Methuen edition) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"With purpose to snatch a kiss" p. 274 from The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"With purpose to snatch a kiss"  Original watercolor illustrations by Hugh Thomson for The Scarlet Letter(1920 Methuen edition) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"Hester at the foot of the scaffold" p. 276 from The Scarlet Letter illustrated by Hugh Thomson (Methuen 1920) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)

  	Hester on the Scaffold This image appears in the January 1991 edition of the Essex Institute Historical Collection, vol. 127, no. 1. It is a reprint of the illustration by Mary Hallock Foote from the 1878 edition of The Scarlet Letter published by James R. Osgood. Dr. Rita Gollin, author of the article in the EIHCentitled "The Scarlet Letter" which features this image, notes that "[w]hile Foote was not the first to illustrate the novel, her portraits of Hester are unusual in their reality, dense detail, and centrality to the composition" (17). (courtesy of Peabody Essex Museum, Salem, MA)
  	Fig. 2. "The Interview." Illustration by F.O.C. Darley. From The Scarlet Letter (Boston and New York: Houghton, Mifflin and Company, 1892), opposite p. 96.  "Darley augments Hawthorne's text with such details as the chain on the wall and Hester's lavish dress." caption on image opposite p. 96. (courtesy of Peabody Essex Museum, Salem, MA)
  	Pearl and The Scarlet Letter Fig. 3. "Pearl and the Scarlet Letter". Wood engraving by George M. Richards. From "The Scarlet Letter" (New York: Macmillan, 1927). Sentimentally elaborating on Hawthorne's text. Richards presents a cozy room with a sampler on the wall, balls of yarn in a basket, and a hooked rug on the floor, in which a slender Hester with downcast eyes covers her scarlet letter while a smiling Pearl with flowers in both hands gracefully dances before her. (courtesy of Peabody Essex Museum, Salem, MA)
  	Arthur Dimmesdale Fig. 4. Wood engraving by Barry Moser for the Pennyroyal Press from the January 1991 edition of the Essex Institute Historical Collection, vol. 127, no. 1; originally printed in 1984 edition of The Scarlet Letter(New York: Harcourt Brace and Jovanovich, 1984)Referring to the image in the 1984 HBJ edition, Dr. Rita Gollin, author of the essay "The Scarlet Letter," points out that "Mosler's images play an active interpretive role in this edition, particularly this final image showing Arthur Dimmesdale with his eyes downcast and the scar of an "A" clearly visible on his chest" (28). (courtesy of Peabody Essex Museum, Salem, MA)
  	Title page of 1878 edition of The Scarlet Letter Early illustrated edition of The Scarlet Letter published in Boston by James R. Osgood and Company, formerly Ticknor, Fields, and Fields, Osgood, & Co. (courtesy of James R. Osgood and Co.)
  	Illustration of the Custom House from early edition of The Scarlet Letter  From first page of "The Custom-House" chapter in the 1878 edition of The Scarlet Letter published in 1878 by James R. Osgood and Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony (1) (courtesy of James R. Osgood and Co.)
  	The Prison Door from "The Custom-House" chapter of The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston.Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (49)
  	"She was led back to Prison" from chapter entitled "The Recognition" in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (78)
  	"The Eyes of the Wrinkled Scholar Glowed" from chapter entitled "The Interview" of The Scarlet Letter Chillingworth is called to prison cell as healer to aid Hester and her ailing Pearl in this illustration from the 1878 edition of The Scarlet Letterpublished by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (87)
  	The Lonesome Dwelling from chapter entitled "Hester at Her Needle" in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (93)
  	Lonely Footsteps from chapter entitled "Hester at Her Needle" in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (99)
  	A Touch of Pearl's Baby-Hand from the chapter entitled "Pearl" in The Scarlet Letter Illustration of Hester and her baby Pearl from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (113)
  	Vignette on first page of Chapter 7, "The Governor's Hall" of The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (118)
  	The Governor's Breastplate from chapter entitled "The Governor's Hall" of The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (125)
  	"Look thou to it! I will not lose the child!" from chapter entitled "The Elf-child and the Minister" of The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (135)
  	The Minister and Leech from chapter entitled "The Leech" of The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (148)
  	The Leech and his Patient from the chapter of the same name in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (165)
  	The Virgins of the Church from chapter entitled "The Interior of a Heart" in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (172)
  	"They stood in the noon of that strange splendor" from chapter entitled "The Minister's Vigil" in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (185)
  	Hester in the House of Mourning from chapter entitled "Another View of Hester" in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (185) (195)
  	Mandrake from chapter entitled "Hester and the Physician" inThe Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (211)
  	"He gathered herbs here and there" from chapter entitled "Hester and Pearl" in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston (213)
  	Pearl on the Sea-Shore from chapter entitled "Hester and Pearl" in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (217)
  	"Wilt thou yet forgive me?"from chapter entitled "The Pastor and His Parishoner" in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (237)
  	A Gleam of Sunshine from chapter entitled "A Flood of Sunshine" in The Scarlet Letter Illustration from Chapter "A Flood of Sunshine" from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (249)
  	The Child at the Brook-side from the chapter of the same name in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston. Illustration drawn by Mary Hallock Foote and engraved by A.V.S. Anthony. (257)
  	Chillingworth,--"Smile with a sinister meaning" from chapter entitled "The New England Holiday" in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston (287)
  	New England Worthies from chapter entitled "The Procession" in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston (289)
  	"Shall we not meet again?" from chapter entitled "The Revelation of the Scarlet Letter" in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston (311)
  	Hester's Return from chapter entitled "The Conclusion" in The Scarlet Letter Illustration from the 1878 edition of The Scarlet Letter published by Charles R. Osgood & Co. in Boston (320)

  
   
• Posters

  	Poster from 1965 film version of The Scarlet Letter
  	Poster advertising 1934 film version of The Scarlet Letter directed by Robert Vignola. This poster,owned by Peter Blatty, was exhibited at the celebration of the 150th anniversary of the publication of The Scarlet Letter at the Salem Custom House. The film was shot in Salem's Pioneer Village and Sherman Oaks, CA, and starred Colleen Moore. (courtesy of Peabody Essex Museum, Salem, MA)

• Paintings

  Illustration from painting of The Scarlet Letter by W.L. Taylor in 1912 for Ladies' Home Journal  Printed in the March, 1923 edition of Ladies' Home Journal (courtesy of the Meredith Corp. Publishing, and the Ladies’ Home Journal )

  
   
• The Custom House

  	Exterior of the Salem Custom House, 2000 Constructed in 1819, the Salem Custom House is a superb example of American Federalist public architecture. Hawthorne worked here as surveyor of the port from 1846-1849; import duties collected here helped finance the federal government. Constructed on ground where the George Crowninshield house once stood, the Salem Custom house, says Bryant F. Tolles, Jr. in Architecture of Salem, "may be entered through a beautifully adorned front central doorway serviced by a sweeping flight of granite steps. Combining delicate restraint and rich detail in the best tradition of Salem Federal architecture are the balustraded front entrance, with its four attenuated Ionic composite columns and fully developed entablature, and the modified Palladian window above which the porch column entablature elements are repeated. Perched high on the roof balustrade rests, in Hawthorne's words, 'an enormous [gilded] specimen of the American eagle, with outspread wings, a shield before her breast, ...a bunch of intermingled thuinderbolts and barbed arrows in each claw....' Surmounting the hipped roof, with its tall brick chimneys, is an octagonal Italianate cupola that dates from alterations (mostly interior) made in 1853/4. A three-story bonded warehouse ell is attached to the rear. Although the construction of the Custom House occurred several years after Samuel McIntire's death, it shows McIntire's influence, perhaps in large part because four of his contemporaries--nephew Joseph McIntire, Jr., David Lord, Joseph Edwards, and Joseph True--are known to have labored on the building. Perley Putnam (1778-1864) of Salem supervised construction" (58).  (photography by Aaron Toleos)
  	The Salem Custom House, c. 1990  (courtesy of Peabody Essex Museum, Salem, MA)
  	The Custom House Eagle, Salem, MA Photograph taken in June, 1997 (courtesy of Halldor F. Utne)
  	The eagle which sits on top of the Salem Custom House was sculpted by Joseph True.  (courtesy of Salem Maritime National Historic Site)
  	Nathaniel Hawthorne's Office in the Salem Custom House  (photography by Terri Whitney)
  	Hawthorne's Office in the Salem Custom House  (courtesy of Peabody Essex Museum, Salem, MA)
  	Photograph of Nathaniel Hawthorne from a daguerreotype,1848(?) This image was made during the period when he served as surveyor at the Salem Custom House and may have been done by John Adams Whipple, Boston.  (courtesy of Peabody Essex Museum, Salem, MA)

  
   
• 14 Mall St

  	Sign on 14 Mall St., the house where Hawthorne wrote The Scarlet Letter.
  	14 Mall Street in 2001 Hawthorne wrote The Scarlet Letter in this house.
  	14 Mall Street in Salem Hawthorne wrote The Scarlet Letter while living in this house.
  	Parlor on second floor of 14 Mall Street in Salem Nathaniel Hawthorne wrote The Scarlet Letter in this house.
  	Postcard c. 1907 with picture of 14 Mall St., Salem Hawthorne lived in this house when he wrote The Scarlet Letter in 1849.

  
   
• Objects and places related to Hester

  	Gloves, 1640-60 An example of the type of embroidery Hester would have done. (courtesy of Peabody Essex Museum, Salem, MA)
  	The Ward House Great Room An interior typical of the room in which Hester Prynne met with the Governor and ministers.
  	Elizabeth Pain Gravestone, 1704. The Elizabeth Pain gravestone, King's Chapel, Boston. Local tradition holds that Elizabeth Pain was the prototype for Hester Prynne in Hawthorne's The Scarlet Letter.
  	King's Chapel Burial Ground, Boston The Elizabeth Pain gravestone is located in King's Chapel, Boston. Local tradition holds that Elizabeth Pain was the prototype for Hester Prynne in Hawthorne's The Scarlet Letter.  (Photography by Joseph R. Modugno)
  	King's Chapel Burial Ground, Boston The Elizabeth Pain gravestone is located in King's Chapel, Boston. Local tradition holds that Elizabeth Pain was the prototype for Hester Prynne in Hawthorne's The Scarlet Letter.  (Photography by Joseph R. Modugno)
  	King's Chapel, Boston The Elizabeth Pain gravestone is located in King's Chapel, Boston. Local tradition holds that Elizabeth Pain was the prototype for Hester Prynne in Hawthorne's The Scarlet Letter.  (Photography by Joseph R. Modugno)

  
   
• William Bradstreet

  	Governor Simon Bradstreet House, Salem from Sidney Perley's History of Salem   (courtesy of Peabody Essex Museum, Salem, MA)
  	Portrait of Governor Simon Bradstreet from Sidney Perley's History of Salem, Massachusetts   (courtesy of Peabody Essex Museum, Salem, MA)
  	Tomb of Simon Bradstreet, Charter Street Burial Ground, Salem. The Tomb of Simon Bradstreet, a Governor of Massachusetts Bay Colony and the husband of Puritan poet Anne [Dudley] Bradstreet.  (courtesy of Peabody Essex Museum, Salem, MA)

  
   
• Film versions

  	Publicity photograph from the 1926 silent film version of The Scarlet Letter starring Lillian Gish as Hester Prynne and Lars Hanson as Arthur Dimmesdale The 1926 silent film version of The Scarlet Letter by the Swedish director Victor Seastrom (Victor Sjostrom)starred Lillian Gish and Lars Hanson. Other members of the cast included: Henry B. Walthall, Karl Dane, Marcelle Corday, William H. Tooker, Fred Herzog, Jules Cowles, Mary Hawes, Joyce Coad, James A. Marcus, Nora Cecil, Dorothy Gray, Margaret Mann, Polly Moran. A Metro-Goldwyn-Mayer production, the film was based on an adaptation of the novel by Frances Marion. Set design was by Cedric Gibbons and Sidney Ullman, and costume design by Max Ree. Cinematography was by Hendrik Sartov and editing by Hugh Wynn. This was Gish's second film in a five film contract with MGM. (courtesy of Peabody Essex Museum, Salem, MA)
  	The 1926 silent film version of The Scarlet Letter by the Swedish director Victor Seastrom (Victor Sjostrom)  Starred Lillian Gish and Lars Hanson. Other members of the cast included: Henry B. Walthall, Karl Dane, Marcelle Corday, William H. Tooker, Fred Herzog, Jules Cowles, Mary Hawes, Joyce Coad, James A. Marcus, Nora Cecil, Dorothy Gray, Margaret Mann, Polly Moran.A Metro-Goldwyn-Mayer production, the film was based on an adaptation of the novel by Frances Marion. Set design was by Cedric Gibbons and Sidney Ullman, and costume design by Max Ree. Cinematography was by Hendrik Sartov and editing by Hugh Wynn. This was Gish's second film in a five film contract with MGM.  (courtesy of Peabody Essex Museum, Salem, MA)
  	Pearl (Joyce Coad), Hester Prynne (Lillian Gish)and the Reverend Arthur Dimmesdale (Lars Hanson)in the final scene of the silent version of The Scarlet Letter The 1926 silent film version of The Scarlet Letter by the Swedish director Victor Seastrom (Victor Sjostrom)starred Lillian Gish and Lars Hanson. Other members of the cast included: Henry B. Walthall, Karl Dane, Marcelle Corday, William H. Tooker, Fred Herzog, Jules Cowles, Mary Hawes, Joyce Coad, James A. Marcus, Nora Cecil, Dorothy Gray, Margaret Mann, Polly Moran.A Metro-Goldwyn-Mayer production, the film was based on an adaptation of the novel by Frances Marion. Set design was by Cedric Gibbons and Sidney Ullman, and costume design by Max Ree. Cinematography was by Hendrik Sartov and editing by Hugh Wynn. This was Gish's second film in a five film contract with MGM.  (courtesy of Peabody Essex Museum, Salem, MA)
  	Part of the cast and crew of the silent film version of The Scarlet Letter in 1926  Victor Seastrom,the Swedish director of the film,is seated on the ground in this photo taken of the cast in North Hollywood. Lillian Gish, star of this feature, is seated on his right, and on the other side is Lars Hanson. Other members of the cast included: Henry B. Walthall, Karl Dane, Marcelle Corday, William H. Tooker, Fred Herzog, Jules Cowles, Mary Hawes, Joyce Coad, James A. Marcus, Nora Cecil, Dorothy Gray, Margaret Mann, Polly Moran.A Metro-Goldwyn-Mayer production, the film was based on an adaptation of the novel by Frances Marion. Set design was by Cedric Gibbons and Sidney Ullman, and costume design by Max Ree. Cinematography was by Hendrik Sartov and editing by Hugh Wynn. This was Gish's second film in a five film contract with MGM.  (courtesy of Peabody Essex Museum, Salem, MA)
  	Hester on the Scaffold from the 1926 silent film version starring Lillian Gish/Watch The Scarlet Letter(1926) on TCM The 1926 silent film version of The Scarlet Letter by the Swedish director Victor Seastrom (Victor Sjostrom)starred Lillian Gish and Lars Hanson. Other members of the cast included: Henry B. Walthall, Karl Dane, Marcelle Corday, William H. Tooker, Fred Herzog, Jules Cowles, Mary Hawes, Joyce Coad, James A. Marcus, Nora Cecil, Dorothy Gray, Margaret Mann, Polly Moran.A Metro-Goldwyn-Mayer production, the film was based on an adaptation of the novel by Frances Marion. Set design was by Cedric Gibbons and Sidney Ullman, and costume design by Max Ree. Cinematography was by Hendrik Sartov and editing by Hugh Wynn. This was Gish's second film in a five film contract with MGM.  (courtesy of Peabody Essex Museum, Salem, MA)

The House of the Seven Gables

• Book Covers and Illustrations:

  	Cover of The House of the Seven Gables with illustrations by Edith and Mildred Cowles (Houghton Mifflin 1899) According to John L. Idol, Jr., "...the Cowles sisters present characters that seem to breathe, have blood in their veins, thoughts in their minds, and feelings in their hearts. ... I'm suggesting that the Cowles sisters understood an illustrator's role, which is being a collaborative artist capable of helping a reader visualize the words of an author. In an age where the visual receives far more attention than the verbal, the Cowles sisters' illustrations of The House of the Seven Gables should be far better known than they are." (See http://www.hawthorneinsalem.org/page/10174 for a fuller discussion of this topic by Professor Idol.) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	Title page of volume 1 of The House of the Seven Gablesillustrated by Edith and Mildred Cowles (Houghton Mifflin, 1899) According to John L. Idol, Jr., "...the Cowles sisters present characters that seem to breathe, have blood in their veins, thoughts in their minds, and feelings in their hearts. ... I'm suggesting that the Cowles sisters understood an illustrator's role, which is being a collaborative artist capable of helping a reader visualize the words of an author. In an age where the visual receives far more attention than the verbal, the Cowles sisters' illustrations of The House of the Seven Gables should be far better known than they are." (See http://www.hawthorneinsalem.org/page/10174 for a fuller discussion of this topic by Professor Idol.) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"A little withdrawn from the line of the street" (p. 12) Frontispiece of volume 1 of The House of the Seven Gablesillustrated by Edith and Mildred Cowles (Houghton Mifflin, 1899) According to John L. Idol, Jr., "...the Cowles sisters present characters that seem to breathe, have blood in their veins, thoughts in their minds, and feelings in their hearts. ... I'm suggesting that the Cowles sisters understood an illustrator's role, which is being a collaborative artist capable of helping a reader visualize the words of an author. In an age where the visual receives far more attention than the verbal, the Cowles sisters' illustrations of The House of the Seven Gables should be far better known than they are." (See http://www.hawthorneinsalem.org/page/10174 for a fuller discussion of this topic by Professor Idol.) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	List of illustrations by Edith and Mildred Cowles in volume 1 of The House of the Seven Gables (Houghton Mifflin, 1899) According to John L. Idol, Jr., "...the Cowles sisters present characters that seem to breathe, have blood in their veins, thoughts in their minds, and feelings in their hearts. ... I'm suggesting that the Cowles sisters understood an illustrator's role, which is being a collaborative artist capable of helping a reader visualize the words of an author. In an age where the visual receives far more attention than the verbal, the Cowles sisters' illustrations of The House of the Seven Gables should be far better known than they are." (See http://www.hawthorneinsalem.org/page/10174 for a fuller discussion of this topic by Professor Idol.) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"The Old Pyncheon Family" (p. 1) from volume 1 of The House of the Seven Gables illustrated by Edith and Mildred Cowles (Houghton Mifflin, 1899) According to John L. Idol, Jr., "...the Cowles sisters present characters that seem to breathe, have blood in their veins, thoughts in their minds, and feelings in their hearts. ... I'm suggesting that the Cowles sisters understood an illustrator's role, which is being a collaborative artist capable of helping a reader visualize the words of an author. In an age where the visual receives far more attention than the verbal, the Cowles sisters' illustrations of The House of the Seven Gables should be far better known than they are." (See http://www.hawthorneinsalem.org/page/10174 for a fuller discussion of this topic by Professor Idol.) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"Can it have been an early lover?" (p. 48) from volume 1 of The House of the Seven Gables by Edith and Mildred Cowles (Houghton Mifflin, 1899) According to John L. Idol, Jr., "...the Cowles sisters present characters that seem to breathe, have blood in their veins, thoughts in their minds, and feelings in their hearts. ... I'm suggesting that the Cowles sisters understood an illustrator's role, which is being a collaborative artist capable of helping a reader visualize the words of an author. In an age where the visual receives far more attention than the verbal, the Cowles sisters' illustrations of The House of the Seven Gables should be far better known than they are." (See http://www.hawthorneinsalem.org/page/10174 for a fuller discussion of this topic by Professor Idol.) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"A square and sturdy little urchin" (p. 80) in volume 1 of The House of the Seven Gables illustrated by Edith and Mildred Cowles (Houghton Mifflin, 1899) According to John L. Idol, Jr., "...the Cowles sisters present characters that seem to breathe, have blood in their veins, thoughts in their minds, and feelings in their hearts. ... I'm suggesting that the Cowles sisters understood an illustrator's role, which is being a collaborative artist capable of helping a reader visualize the words of an author. In an age where the visual receives far more attention than the verbal, the Cowles sisters' illustrations of The House of the Seven Gables should be far better known than they are." (See http://www.hawthorneinsalem.org/page/10174 for a fuller discussion of this topic by Professor Idol.) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"Considered themselves...her patrons and superiors" (p. 86) in volume 1 of The House of the Seven Gables illustrated by Edith and Mildred Cowles (Houghton Mifflin, 1899) According to John L. Idol, Jr., "...the Cowles sisters present characters that seem to breathe, have blood in their veins, thoughts in their minds, and feelings in their hearts. ... I'm suggesting that the Cowles sisters understood an illustrator's role, which is being a collaborative artist capable of helping a reader visualize the words of an author. In an age where the visual receives far more attention than the verbal, the Cowles sisters' illustrations of The House of the Seven Gables should be far better known than they are." (See http://www.hawthorneinsalem.org/page/10174 for a fuller discussion of this topic by Professor Idol.) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	"A miscellaneous old gentleman" (p. 100) in volume 1 of The House of the Seven Gables illustrated by Edith and Mildred Cowles (Houghton Mifflin, 1899) According to John L. Idol, Jr., "...the Cowles sisters present characters that seem to breathe, have blood in their veins, thoughts in their minds, and feelings in their hearts. ... I'm suggesting that the Cowles sisters understood an illustrator's role, which is being a collaborative artist capable of helping a reader visualize the words of an author. In an age where the visual receives far more attention than the verbal, the Cowles sisters' illustrations of The House of the Seven Gables should be far better known than they are." (See http://www.hawthorneinsalem.org/page/10174 for a fuller discussion of this topic by Professor Idol.) (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)

• 	Picture of chicken yard from House of the Seven Gables  (courtesy of Dr. John L. Idol, Jr.)
  	Illustration by Helen Mason Grose of Phoebe in The House of the Seven Gables from the 1924 edition published by Houghton Mifflin John Idol says, "To Helen Mason Grose goes the honor of having provided the greatest number of full-page illustrations for the romance in an edition appearing in 1924.... As of 1952 this edition had gone through 19 printings, serving readers from the Roaring 'Twenties up to the Baby Boomers. In minutely detailed paintings in color and in woodcuts done in black and white, she presented a prettified, sentimental, and energized set of illustrations. Her characters interact, especially in the paintings, and she showed a knack for choosing dramatic scenes where reader interest in most intense...." (with special thanks to Dr. John L. Idol Jr.)
  	Book cover of Oxford Pocket Classics edition of The House of the Seven Gables  (courtesy of Dr. John L. Idol, Jr.)
  	Hepzibah, Phoebe, and Judge Pyncheon depicted on cover of 1977 illustrated edition by Now Age/Pendulum Press of The House of the Seven Gables  (courtesy of Pendulum Press)
  	Book cover of Watermill Classic edition of The House of the Seven Gables 1983?  (courtesy of Peabody Essex Museum, Salem, MA)
  	Book cover of The House of the Seven Gables
  	Book cover of Pocket Version of The House of the Seven Gablesfeaturing Holgrave and Phoebe  Holgrave and Phoebe appear as a romantic, almost melodramatic young couple. The cover emphasizes their love story as the dominant feature of Hawthorne’s novel.  (courtesy of Peabody Essex Museum, Salem, MA)
  	Book cover of Everyman paperback edition of The House of the Seven Gables featuring Holgrave and Phoebe  For the Everyman edition of The House of the Seven Gables, the illustrator created more stylized images of Holgrave and Phoebe, creating a stronger feeling of distance between them. (from the collection of John L. Idol, Jr. now housed at the Peabody Essex Museum)  (courtesy of Peabody Essex Museum, Salem, MA)
  	Gothic book cover of The House of the Seven Gables
  	Book cover of ALS (Amsco Literature Series) version of The House of the Seven Gables
  	Book cover of 1981 Bantam Classic version of The House of the Seven Gables
  	Book cover of World's Classic edition of The House of the Seven Gables with reproduction of Van Zandt's painting of a well-dressed gentleman riding a sleigh  (with special thanks to Dr. John L. Idol Jr.)
  	Last page of Classics Illustrated edition of The House of the Seven Gables In the Classic Comics version of The House of the Seven Gables, Holgrave is transformed into Jonathan Maule, whose goal is to break the curse of the Seven Gables. In this illustration, Holgrave appears older than his twenty-two years might suggest.  (courtesy of Peabody Essex Museum, Salem, MA)
  	Last panel of Classics Illustrated edition of The House of the Seven Gables  In his lecture on September 14, 2000, Dr. John L. Idol, Jr. discusses the comic-book versions of Hawthorne: "I come now to a form of illustrated books that students for decades have been tempted to turn into ponies--and many of them may have succeeded. I'm speaking, of course, of the comic-book-like illustrated classics, those publications that give us realistically drawn characters and places with a bare-bone version of the story. In the earliest manifestation of presenting the romance in the form of serial drawings, the concluding scene became more Poeish than Hawthornean, for we see the seven-gabled house going down in flames not exactly a reprise of the ending of 'The Fall of the House of Usher' but in the same spirit."  (with special thanks to Dr. John L. Idol Jr.)
  	Holgrave from The House of the Seven Gables This illustration from The House of the Seven Gables places Phoebe and Holgrave together in the chicken yard. It emphasizes a pastoral quality in their setting, one that foreshadows their retreat to the country estate at the end of the novel, but that ignores the darkness of Seven Gables.  (courtesy of Dr. John L. Idol, Jr.)
  	Holgrave and Phoebe on Pocket Version of  Holgrave and Phoebe appear as a romantic, almost melodramatic young couple. The cover emphasizes their love story as the dominant feature of Hawthorne's novel.  (courtesy of Dr. John L. Idol, Jr.)

  
   
• The Turner-Ingersoll House

  	The Turner-Ingersoll House, 54 Turner St., Salem, aka "The House of the Seven Gables" Photograph of the House of the Seven Gables with tulips in bloom. (photography by Dan Popp)
  	Postcard (1905) of the Turner-Ingersoll House aka "The House of the Seven Gables"--with only three gables When Caroline Emmerton purchased the house at 54 Turner St., it had lost all but three of its gables. In his lecture on September 14, 2000, Dr. John L. Idol, Jr. noted that Caroline Emmerton "sat about restoring the house, engaging an architect, Joseph Edward Chandler, to help her. He was familiar with Colonial architecture and led her to the discovery of the position of three of the missing gables. They were replaced. Unhappily, for them, as things turned out, they went ahead with the construction of a seventh gable, since, by tradition, the house had sported a seventh one. Further study of the building revealed the presence of another original gable, the authentic seventh.... Despite the evidence before her that Hawthorne's knowledge of the old house was superficial at best, Emmerton pushed ahead with her efforts to transform it into the house that Hawthorne had moved from Turner Street into the pages of his romance. She remodeled the house to give it the requisite number of gables, choosing to keep the one at back rather than to build an authentic seventh over the front entrance, setting up a cent-shop, and furnishing the house in such a manner as to be able to say that a certain room was Phoebe's, that a particular window was the one Clifford had stood at as he gazed upon the street below. As far as possible, life was following art, although she was puzzled to find that Hawthorne had made no apparent use of the secret passage way that the Turner-Ingersoll house has."  (with special thanks to Dr. John L. Idol Jr.)
  	Kitchen fireplace Fireplace in kitchen in House of Seven Gables. Hepzibah and Phoebe would have prepared meals using such a fireplace. (courtesy of The House of the Seven Gables Historic Site)
  	Postcard of The House of the Seven Gables c. 1905  (courtesy of Peabody Essex Museum, Salem, MA)
  	Postcard (1905) of The House of the Seven Gables  (courtesy of Peabody Essex Museum, Salem, MA)
  	Postcard c. 1900 of The House of the Seven Gables  (courtesy of Peabody Essex Museum, Salem, MA)
  	Postcard c. 1900; Garden View of The House of the Seven Gables
  	Postcard c. 1900 of the Parlor in the House of the Seven Gables  (courtesy of Peabody Essex Museum, Salem, MA)
  	Postcard of the House of the Seven Gables

  
   
• Philip English House

  Drawing of the Philip English House in Salem Built in 1683 at the head of what is now English St., not far from Collins Cove, this house of many gables was thought by some to be the location of the one described in Hawthorne's novel, The House of the Seven Gables. Called "The Great House," it was considered the most lavish home in Salem of that time. Philip and his wife, Mary, lived here in 1692 when they were accused of witchcraft. Initially imprisoned in the Cart and Wheel Inn in Salem, they were moved to Boston in June and placed under house arrest after the intervention of friends. Allowed their freedom during the day in Boston because of their upper-class status, they fled on a ship to New York in August before their trial in Salem. A secret garret room that was discovered when the house was razed may have been built after Philip and Mary returned to Salem as a hiding place should it ever be needed. (courtesy of Peabody Essex Museum, Salem, MA)

  
   
• Thomas Maule:

  Thomas Maule House Thomas Maule House. From Sidney Perley's The History of Salem Massachusetts, Vol. II.

  
   
• Film version

  Publicity photo from Universal Picture's film version of The House of the Seven Gables A film version of The House of the Seven Gableswas made in 1940 starring Vincent Price. Directed by Joe May, the film also starred George Sanders,Gilbert Emery, Dick Foran, Nan Grey, Cecil Kellaway, Margaret Lindsay, Miles Mander, Alan Napier, and Charles Trowbridge. Other credits are as follows: Composer, Frank Skinner; Costume Designer, Vera West; Director of Photography, Milton Krasner; Editor, Frank Gross Producer,Burt Kelly;Production Designers, Jack Otterson and Richard H. Riedel;Screenwriters Lester Cole and Harold Greene.  (copyright Turner Classic Movies; used with permission)

  Publicity photo from film version of The House of the Seven Gablesstarring Vincent Price and Margaret Lindsay A film version of The House of the Seven Gables was made in 1940 starring Vincent Price. Directed by Joe May, the film also starred George Sanders,Gilbert Emery, Dick Foran, Nan Grey, Cecil Kellaway, Margaret Lindsay, Miles Mander, Alan Napier, and Charles Trowbridge. Other credits are as follows: Composer, Frank Skinner; Costume Designer, Vera West; Director of Photography, Milton Krasner; Editor, Frank Gross Producer,Burt Kelly;Production Designers, Jack Otterson and Richard H. Riedel;Screenwriters Lester Cole and Harold Greene.  (copyright Turner Classic Movies; used with permission)

The Blithedale Romance

• Book Covers and Illustrations

  	"Say What You Wish, and Leave Me" Frontispiece by T.Eyre Macklin from scene on p. 252 of Blithedale Romance published in 1852 in London by Walter Scott Limited (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	Title page of 1852 edition of Blithedale Romance published in London by Walter Scott Limited  (courtesy of Nathaniel Hawthorne Collection, Bowdoin College Library, Brunswick, Maine)
  	Cover of The Blithedale Romance with introduction by Arlin Turner
  	Cover of Signet Classic edition of The Blithedale Romance with introduction by Alfred Kazin
  	Cover of W.W. Norton edition of The Blithedale Romance edited by Seymour Gross and Rosalie Murphy
  	Cover of the Laurel edition of The Blithedale Romance with an introduction by David Levin
  	Cover of paperback edition of The Blithedale Romance with introduction by Annette Kolodny
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  	Cover of Bantam Classic edition of The Blithedale Romance
  	Zenobia, illustration from the Essex Institute Historical Collectionvolume entitled "From Cover to Cover: The Presentation of Hawthorne's Major Romances"  This image accompanies an article by Dr. Melinda Ponder entitled "The Blithedale Romance." The image is reproduced from the frontispiece of an edition of The Blithedale Romance published in Philadelphia by Henry Altemus c. 1900. The caption in the EIHC article reads, "Zenobia portrayed as a fashionable beauty, ca. 1900"(62).  (courtesy of Peabody Essex Museum, Salem, MA)

The Marble Faun

	Fig 13. Illustrated title page. From "The Marble Faun" (Cambridge, Mass: Riverside Press, 1883). (courtesy of Peabody Essex Museum, Salem, MA)
	Fig 14. Miriam and Donatello. From "The Marble Faun" (Cambridge, Mass: Riverside Press, 1883), frontispiece.
	Fig. 15 The Faun of Praxiteles. Photogravure illustration. From "The Marble Faun" (Boston: Houghton, Mifflin and Co, 1890, oppisite p.22
	Fig. 16 Hilda's tower. Photogravure illustration. From "The Marble Faun" (Boston: Houghton, Mifflin and Co. 1890, opposite p. 68

Criticism Related to Hawthorne's Novels

Title page of 1878 edition of The Scarlet Letter (courtesy of James R. Osgood and Co.)

Fanshaw The Scarlet Letter The House of the Seven Gables The Blithedale Romance The Marble Faun Unfinished Novels

The Scarlet Letter

In The Threads of the Scarlet Letter: A Study of Hawthorne's Transformative Art, Richard Kopley suggests that the scene in The Scarlet Letter in which Chillingworth approaches the sleeping minister may have been inspired by Edgar Allan Poe’s story, “The Tell-Tale Heart.”(courtesy of University of Delaware Press)