Behind the Mask: John Keats and Benjamin Robert Haydon
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Inside the quiet walls of Margaret Clapp Library, the Wellesley College Special Collec=ons houses precious ar=facts from across =me. Hanging unassumingly in an office is a life mask of John Keats iden=fied by a single four-inch plaque—“Life mask of/ JOHN KEATS 1785-1821/ by/ Benjamin Robert Haydon/ GiX of/ Margaret Sherwood.” Another cas=ng of the same mask is on display in the pres=gious Na=onal Portrait Gallery in London. How did this mask find its way to a small liberal arts college? Keats commissioned the life mask early in his career, when he professed devo=on to wri=ng poetry to achieve literary immortality. But even at the end of his career and life, Keats felt he had no legacy. At his insistence, his tombstone reads, “Here lies a man whose name was writ in water.” The contrast between Keats’ aspira=on for fame and his fear of falling short makes the mask more intriguing. Why might Keats want to memorialize himself if he thought he had not yet achieved success? In having his life mask cast, Keats paradoxically sacrificed precious =me he had set aside to create a legacy through wri=ng. Though crea=ng a life mask was not atypical for the period, it was a laborious and =me- intensive process. The plaster cast in the Wellesley College collec=on is from a cas=ng done in 1816 by Benjamin Robert Haydon, likely just before Keats began experiencing symptoms of tuberculosis. Keats knew that =me passing would never be recovered before he would need to return to his role as an apothecary surgeon if unsuccessful as a poet. Perhaps Keats believed in his poetry more than he let on. The life mask contributed to Keats’ goal of crea=ng a poe=c legacy. Before photography, portraiture was the main method of preserving images and the only way Keats could demonstrate that he valued his unique iden=ty. In commissioning an accurate image of himself that would last, he affirmed faith that future genera=ons would recognize his worth as a poet. Clapp, Jewett Art, Jewett Music, Science Center, Special Collections, Archives WELLESLEY COLLEGE Volume 37 No. 1 Spring 2019 Continued on page 7 Behind the Mask: John Keats and Benjamin Robert Haydon Photo by Maria Iannotti ‘20 Maria Iannotti ‘20
Transcript of Behind the Mask: John Keats and Benjamin Robert Haydon
InsidethequietwallsofMargaretClappLibrary,theWellesleyCollegeSpecialCollec=onshousespreciousar=factsfromacross=me.HangingunassuminglyinanofficeisalifemaskofJohnKeatsiden=fiedbyasinglefour-inchplaque—“Lifemaskof/JOHNKEATS1785-1821/by/BenjaminRobertHaydon/GiXof/MargaretSherwood.”Anothercas=ngofthesamemaskisondisplayinthepres=giousNa=onalPortraitGalleryinLondon.Howdidthismaskfinditswaytoasmallliberalartscollege?
Keatscommissionedthelifemaskearlyinhiscareer,whenheprofesseddevo=ontowri=ngpoetrytoachieveliteraryimmortality.Butevenattheendofhiscareerandlife,Keatsfelthehadnolegacy.Athisinsistence,histombstonereads,“Hereliesamanwhosenamewaswritinwater.”ThecontrastbetweenKeats’aspira=onforfameandhisfearoffallingshortmakesthemaskmoreintriguing.WhymightKeatswanttomemorializehimselfifhethoughthehadnotyetachievedsuccess?
Inhavinghislifemaskcast,Keatsparadoxicallysacrificedprecious=mehehadsetasidetocreatealegacythroughwri=ng.Thoughcrea=ngalifemaskwasnotatypicalfortheperiod,itwasalaboriousand=me-intensiveprocess.TheplastercastintheWellesleyCollegecollec=onisfromacas=ngdonein1816byBenjaminRobertHaydon,likelyjustbeforeKeatsbeganexperiencingsymptomsoftuberculosis.Keatsknewthat=mepassingwouldneverberecoveredbeforehewouldneedtoreturntohisroleasanapothecarysurgeonifunsuccessfulasapoet.
PerhapsKeatsbelievedinhispoetrymorethanheleton.ThelifemaskcontributedtoKeats’goalofcrea=ngapoe=clegacy.Beforephotography,portraiturewasthemainmethodofpreservingimagesandtheonlywayKeatscoulddemonstratethathevaluedhisuniqueiden=ty.Incommissioninganaccurateimageofhimselfthatwouldlast,heaffirmedfaiththatfuturegenera=onswouldrecognizehisworthasapoet.
Clapp, Jewett Art, Jewett Music, Science Center, Special Collections, Archives
WELLESLEY COLLEGE
Volume 37 No. 1 Spring 2019
Continued on page 7
Behind the Mask: John Keats and Benjamin Robert Haydon
Photo by Maria Iannotti ‘20
Maria Iannotti ‘20
Report from the Co-chairFriends of the Library
Honorary Chairperson Paula A. Johnson
Founding Member Mary E. Jackson ’24
Co-Chairs Kerry Carwile Masteller ’01 Karen Bohrer
Newsletter Editors Judith Black Lynda Leney Leahy ’66 Diane Speare Triant ’68
Steering Committee Mary Allen Georgia Brady Barnhill ’66 Judith Black Karen Bohrer Clemency Chase Coggins ’55 Elizabeth Febo Karen Gaylin ’78, Treasurer Sarah Gilman ’82 Lynda Leney Leahy ’66 Nancy L. Leblang ’78 Kerry Carwile Masteller ’01 Jacqueline Marie Musacchio ’89 Ruth R. Rogers Susan F. Saul ’65 Diane Speare Triant ’68 Sarah Wall-Randell ’97 Leslie Perrin Wilson ’75
Emeritae Janice L. Hunt ’52 Lia Gelin Poorvu ’56 Polly Slavet ’67 June M. Stobaugh ’66 Elinor Bunn Thompson ’37
Karen Bohrer, Director of Library Collections
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It’stheendofthespringsemesterasIwritethisandtheWellesleycampusisgloriousinitsgreeneryandbloomsandthestudentsarelookingforwardtoasummerchangeofpace.Therearealwaysac=vi=esandeventsattheCollegefortheenrichmentofthecommunitybutthissemesterwasespeciallynotablebythenumberandrangeofthosethatweresupportedbytheFriendsofWellesleyCollegeLibrary.
Ofcourse,theFOLhassupportedtheworkofLibraryandTechnologyServicesforalong=me.Thankstothisgenerousanddedicatedgroupofpeople,itwouldtakeabookratherthananewslebercolumntolisteverythingLTShasbeenabletodoforthebenefitofteachingandlearningatWellesley.Thissemesterwasespeciallyimpressive.TheFOLwaseverywhere!
FocusedonstudentsweretheStudentLibraryResearchAwardsandCareersinLibrariesday.Theresearchawardsdrewarecordnumberofapplicantsthisyearandthecommibeeofjudgeshadtheirworkcutoutforthem.[Seethestoryonpage5.]TheCareersinLibrariesevent,co-sponsoredbytheCareerEduca=onoffice,showedstudentabendeesthemanyaspectsoflibrarianshipwithpresenta=onsbycurrentstaffandalumnaewhohavegoneintothefield.Asalibrarian,Ihopethisbecomesaregularevent.
Theen=recommunityofstudents,faculty,staff,alumnaeand“Friends”weretreatedtoalectureontheRenaissanceprin=nghousebyAnthonyT.Gra-on.TherenownedprofessorfromPrincetonalsoconductedaseminarforstudentsandfacultyduringhisdayoncampus.Earlierthisspring,theFOLco-sponsoredalecturebyRobertDarntonconcerningthehistoryofcensorshipaswellaaseminarforfacultyearlierintheday.ProfessorDarnton,formerUniversityLibrarianatHarvardandferventadvocateforlibrarieseverywhere,isoneofmyheroes,sotohavehimhereatWellesleywasamazing.
TheFOLalsosupportsourmissioninalesspublicbutnolessimportantmannerbyenablingustoofferservicesandresourceswecouldn’totherwise.TheMaterialEvidenceinIncunabulaisaglobalini=a=veforlibrarieswithcollec=onsofbooksprintedbefore1500.Theprogramdescribesthecollec=vevolumes,whilemakingtheinforma=onfullyaccessibletomembers.WellesleyisoneofonlyseventeenlibrariesintheUSpar=cipa=nginthisprogramthankstotheFOL.Astheuseofvideointheclassroomgrows,westruggletoprovidetheresourcesthefacultyneeds.FOLsupportallowedustopurchaseastreamingcollec=onofdocumentaryfilmscalledDocuSeek2thathasalreadyseenhundredsofusesaXerjustafewmonths.
Ithinkyougetthepicture!TheFriendsofWellesleyCollegeLibraryisanac=ve,engagedandinterestedorganiza=onthattoucheseverythingwedo.Ifyou’realreadyamember,thankyou.Pleaseconsidervolunteeringtojoinacommibeeorgetinvolvedinanevent.Ifyouhaven’trenewedyourmembership,Ihopeyou’llthinkaboutit.
Haveawonderfulsummer!
BookStudiesatWellesleyisaninterdisciplinarylibrary-basedini=a=vethatseekstointegratethecollege’suniquecollec=onsandfacili=esintoteachingandresearch.Thisini=a=vedrawsuponthestrengthsofWellesley’sbibliographiclegacy,suchasthecollege’sSpecialCollec=onsandtheBookArtsLab,andintegratesthemintodepartmentsfromClassicstoComputerScience.In2019,the75thanniversaryofthefoundingoftheBookArtsLabisbeingcelebratedwithvisitsfrombookhistoriansRobertDarntonofHarvardUniversityandAnthonyGraXonofPrincetonUniversity.ProfessorGraXon’svisitwassponsoredbytheFriendsoftheLibraryandthevisitofbothDr.GraXonandDr.Darntonwereprofiledinthelastnewsleber.Infact,theFriendsoftheLibraryalsosupportedthefoundingintheBookArtsLabbyHannahFrenchinthelate1940s(seetheSummer2019issueofWellesleyMagazineforanin-depthstory)andhavealsoplayedakeyroleinestablishingBookStudiesatWellesley.
In2010,RuthRogers,CuratorofSpecialCollec=ons,RayStarr,TheodoraStoneSubonProfessorofClassics&ProfessorofClassicalStudies,SarahWall-Randell,AssociateProfessorofEnglish,andIwereinvitedtorepresentWellesleyCollegeatathree-dayBookStudiesWorkshopsponsoredbytheMellonFounda=onatOberlinCollege.Thoughwehadnotbeenusingtheterm“BookStudies”atWellesley,itmadeperfectsensetousandweadoptedthetermimmediately.Inanundergraduateliberalartscontext,BookStudiesisaflexibleandinclusivetermthatembracessomanyaspectsofthebookinallofitsforms—fromclaytablettoe-book,fromtexttoimage,frommaterialtoimmaterial.
WewereinvitedtotheBookStudiesworkshopatOberlinbecausewehadbeendoinginnova=vebook-orientedteachingbasedonlibrarycollec=onsformanyyears.In2002,RuthandRayhadco-taughtanexperimentalclass=tledEXP240PapyrustoPrinttoPixel,forwhichtheyreceivedthecollege’sApgarAwardforteachingexcellence.P3,asthecoursewasnicknamed,wasahumani=escoursethathadweeklylabs.IjoinedRuthandRayasthelabinstructorforthecourseandtogetherweendeavoredtocover5000yearsofthehistoryofwribencommunica=oninthewesternworldinonesemester!By2010,wehaddevelopedtwocoursesinconjunc=onwiththeArtDepartment:ARTH299TheHistoryoftheBookfromManuscripttoPrint,whichRuthteachesinSpecialCollec=ons,andARTSIntroPrintMethods:Typography/BookArts,whichIteachintheBookArtsLab.
Thisarcofcourseevolu=on,drawingonthestrengthsofthecollec=onsandfacili=esatWellesley,wasthefocusofapresenta=onthatRuth,Ray,SarahandIgaveattheBookStudiesworkshop.Inturn,colleaguesfromothercollegessharedwithustheirplansforlaunchingBookStudiesminorsandconcentra=ons.WereturnedtoWellesleywithaclearervisionforthewaysthatBookStudiesac=vitycouldfurtherenhancethecurriculum.TheFriendsoftheLibrarywereready,willing,andabletosupportourwork.
AgrantfromFriends’Innova=onsinReadingandScholarshipfundsupportedBookStudiesac=vi=esfrom2012-16.Thefundingsupportedtwomul=-dayfacultyseminarsandnumerousvisitsbyscholars,ar=sts,andlibrarians.Duringthissame=meperiod,SarahWall-RandellandSimonGrote,AssistantProfessorofHistory,were
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Book Arts Lab Evolves Into Book Studies
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Katherine M. Ruffin, Director of Book Studies Program
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OnegoalofTheFriendsoftheLibraryhasalwaysbeentofindwaystocontributetothelargercampuscommunity.Thisyear,atthesugges=onofsteeringcommibeememberJackiMusacchio’89,professorofarthistory,weins=tutedanewlectureseries;weplantobringaprominentspeakertocampustodiscussissuesrelatedtolibrariesandbooksandpromotesomeoftheuniquematerialsinouroutstandingcollec=ons. ThisserieswillengagenotonlyFriendsoftheLibrarymembersbutalsothestudents,faculty,andstaffoftheCollege.
TherewasnomoreappropriatescholartoinauguratethislectureseriesthanAnthonyT.GraXon,theHenryPutnamUniversityProfessorofHistoryatPrincetonUniversity.Aninterna=onallyrespectedscholarwhosemanyawardsincludeaGuggenheimFellowshipandtheMellonFounda=on’sDis=nguishedAchievementAward,ProfessorGraXonworksattheintersec=onsofculturalhistorybroadlydefined.Someofhismostinfluen=alresearchhasanalyzedthehistoryofbooksandtheirreaders,thehistoryofeduca=on,andthehistoryofsciencefromAn=quitytotheRenaissance.Hehaswribenoreditedsomenineteenbooksandmorethanthreehundredar=cles,essays,andreviewsforawiderangeofaudiences.Theseinclude,tociteonlytwoexamples,monographsonthefiXeenth-centurypolymathLeonBatstaAlber=andonthehistoryanduseofthefootnoteasascholarlytool.
WewelcomedProfessorGraXontocampusonApril10th.DuringthedayhemetwithmembersoftheWellesleycommunityandledaninformalworkshopforasmallgroupoffaculty,students,andstaffon“CorrectorsandContentProviders:TheEvidenceoftheBooks.”UsinganumberofvolumesfromSpecialCollec=ons,ProfessorGraXondemonstratedhowprintcorrectors,
workinginthevariousprin=nghousesofearlymodernEurope,ac=velyshapedtextsforpublica=on;hefocusedinpar=cularonWellesley’scopyofHartmannSchedel’sLiberChronicarum(Nuremberg,1493),popularlyknownastheNurembergChronicle,anditsamazingwoodcutsbyMichaelWolgemutandWilhelmPleydenwurff.CuratorRuthRogersalsousedthisopportunitytoshareherrecentdiscoveryofafingerprintonthededicatorypageofRichardHooke’sMicrographia(London,1665),aperfectexampleofthesortofphysicalevidenceProfessorGraXonfoundsocompelling.Workshoppar=cipantscon=nuedtheirconversa=onwithaboxlunch,andfollowingthatProfessorGraXonwenttoourBookArtsLabtowatchKatherineRuffin,theDirectoroftheBookStudiesprogram,preparethepressesforupcomingvisitsfromRuthRogers’sandJackiMusacchio’sclasses.
LaterthataXernoonProfessorGraXongavealecturetothelargercommunityen=tled“InkyFingers:ScholarsandAr=sansintheRenaissancePrin=ngHouse.”Thislecture,partofhislargerinterestinearlymodernprintculture,describedthecollabora=veprocessofprin=ngandtherela=onshipsamongworkersinprin=nghouses.ThelecturefilledCollinsCinemawithalargeaudiencefromtheWellesleycampusandthebroadercommunity;weadver=seditbeforethestartofthespringsemestertofacultyinrelatedfieldsandwereespeciallypleasedtoseesomanystudentsinabendance.
Eventslikethesewillbringtheac=vi=esoftheFriendsoftheLibrarytoalargeraudience,andwilladdimmeasurablytothecurriculum,highligh=ngtheimportanceofbooksandWellesley’scollec=ons.Weweredelightedwiththesuccessofthis,ourinaugurallecture,andwillbeginplanningfornextyearsoon.
Friends of the Library Welcomes Professor Grafton to CampusJacki Musacchio ’89, Professor of Art History
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Inthisageofelectronicinforma=on,researchhasbecomeamorecomplicatedprocess.Sourcesmaybeinpaperormicrofilm,ontheWeb,orinotherelectronicformats.Evalua=ngthesesourcestakesincreasing=meandeffort.Thisawardwascreatedtorewardthosestudentswhotakethe=metodevelopathoughuul,methodical,andscholarlyapproachtotheresearchneededfortheirpapersandprojects,aswellastoencouragestudentstodevelopgoodresearchtechniques.CurrentWellesleyCollegestudentsregisteredforaWellesleyCollegecourseareeligibletosubmit.Allsubmissionsmustbeaccompaniedbyaleberofsupportfromthefacultymemberwhotaughtthecourseforwhichthepaper/projectissubmibed.ApplicantsmustagreetogivetheLibrarypermissiontoexhibitwinningpapers/projectsintheLibrary.Allapplica=onmaterialsremainthepropertyoftheLibrary.Winningpapers/projectswillbecomepartoftheCollegeArchives,andmaybepostedintheWellesleyCollegeIns=tu=onalRepository.(hbps://repository.wellesley.edu/library_awards/)
AngelaCoco’19haswonthe300-levelAwardforher352paper,“ThePowerfulMindistheHealthyMind:RalphWaldoEmerson’sRepresenta<veMen(1850)andtheHistoryofMentalHealth.”Suppor=ngfaculty:SimonGrote.
SanjanaKothary’21haswonthe100/200-levelAwardforherEDUC215paper,“IAm,BecauseWeAre:Intersubjec=vityandtheEthicsofCareinStudent-TeacherRela=onships.”Suppor=ngfaculty:DeepaVasudevan.
VictoriaCo4rell’22haswontheFirstYearAwardforherWRIT187paper“Sanita=onists,Sewers,andShoe-Leather:Poli=calandSocialSubtextsinBri=shCholeraEpidemiology.”Suppor=ngfaculty:SimonGrote.
EmilyMar8n’21haswontheIndependentStudyAwardforherANTH350paper“Veganism,Race,andSoulFood:Evalua=ngReproduc=onsofRaceinVeganSpaces.”Suppor=ngfaculty:Jus=nArmstrong.
ClareDoyle’20receivedanhonorablemen=onforherECON350paper“TaxHavensandMul=na=onalCorporateIncomeTaxAvoidance.”Suppor=ngfaculty:AkilaWeerapana.
2019 Student Library Research Award Winners
awardedAndrewW.MellonFellowshipsinCri=calBibliographyatRareBookSchool.SarahandSimonwereabletotakeclassesatRBSandtohostasymposiumatWellesleyinSeptember2016=tled“GraphicDesignintheDigitalFuture:LessonsfromtheRenaissanceBook.”KenBotnick,abookar=standfinepressprinter,wasaspeakeratthatsymposium.In2019-20,KenwillbetheMaryL.CornilleDis=nguishedVisi=ngProfessorintheHumani=esatWellesley.Heismakingplanstoofferanumberofseminarsonthedesignand
presenta=onofvisualinforma=onthroughouttheyear.
OneofWellesley'sstrengths,intermsofBookStudies,isthelong,unbrokentradi=onofthehands-onlibrary-basedstudyofthebook.TheFriendshaveplayedanimportantroleinsuppor=ngbook-orientedinquiryatWellesleyCollegeandcon=nuetocontributetoavibrantsetofac=vi=esthatservetoraiseawarenessaboutapanoplyoflibraryresources.
CAREERS IN LIBRARIES
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OnWednesdayApril3,morethan40students,alumnaeandstaffabendedalunch=me“CareersinLibraries”event,sponsoredbytheFriendsoftheWellesleyCollegeLibraryandCareerEduca=on.Theprogramopenedwithapanelofthreelibrarianswhospokeabouttheirundergraduateeduca=onandthepaththatledthemtotheircurrentcareers. Thefirstspeaker,PaulinaBorrego‘84,isemployedatUMassAmherstasScience&EngineeringLibrarianandPatent&TrademarkResourceCenterLibrarian.Hercomedic,self-deprecatorytoneandadviceto“figureoutwhatinterestsyouandgoaXerit”hadstudentslaughingandclapping.NextupwasLibraryandTechnologyService’sownstaffmember,SaraLudovissy,theAssistantWellesleyCollegeArchivist,whoadmibedthatherpost-collegeyearsworkingincustomerserviceweregreatprepara=onforlibrarywork.Saraencouragedstudentsnottostressaboutknowingwhattheywilldothemomenttheygraduate,buttogetexposuretopossiblecareersbydoinginternshipsinlibraries–apaththatledhertoabendSimmonsCollegeforherSLISdegreeinArchives.ThefinalspeakerwasBethanyTempletonKlem‘05,whowasrefreshinglycandidaboutnothavingany
ideawhatherdegreeinReligionwoulddoforhercareerprospects.Shestressedtheneedforaprac=calfinancialplan,andsuggestedestablishingresidencytoqualifyforin-statetui=oninagraduatelibraryprogram.She,too,wasopenaboutneverimaginingthatshewantedtoworkwithchildren,andsuggestedthatonedoesn’tneedafullydevelopedcareerplanupongradua=onfromcollege.ShestressedhergoodfortuneinbeingabletoreturntoLTSforatermposi=onintheScienceLibrarybeforelandinghercurrentjobasHeadofChildren’sServicesattheBedford(MA)FreePublicLibrary.
AXerabriefques=onandanswerperiod,thestudentseagerlymingledatdesignatedtableswithLTSstafflibrarians,whogaveadviceandinforma=onaboutcareersandtheirownjobresponsibili=esatWellesleyinspecial=esasdiverseascollec=onsconserva=on,metadataspecialist,researchandinstruc=on,specialcollec=ons,anddigitalscholarshipini=a=ves.
Consideringthenumberofstudentswhoabendedandstayedandaskedques=onslongaXertheeventwastechnicallyover,theCareersinLibrarieseventwasahugesuccess!
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Ruth R. Rogers, Curator of Special Collections
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Continued from page 1
WhiletheKeatslifemaskexposesmuchaboutthepoet,italsorevealsinforma=onaboutthecreatorofthepiece,BenjaminRobertHaydon.Haydonwasapainterandworkedinthevisualarts,whileKeatswasstrugglingtobeawriter.Bothwerefriendsatthepeaksoftheirar=s=ccareers,admiringandinfluencingoneanother.Forexample,Keats’poem“OnSeeingtheElginMarbles”followedavisitdirectedbyHaydon.ThinkingaboutHaydon’sguidinghandinKeats’powerfulandprominentpieceaddsanewdimensiontothework.Havingafriendwhowouldbeabletoproducethemaskmadecommissioningacas=ngeasierforKeats,thoughdoingsowass=llasignificant=meinvestment.
Buttherela=onshipbetweenKeatsandHaydonbringsitsownparadoxes.Whileobscureduringhislife=me,KeatsachievedfameaXerdeath,whileHaydonisalmostforgobentodaydespitehisar=s=csuccessinhislife=me.Tenyearshissenior,HaydonbeganafriendshipwithKeatsin1816thatcon=nuedforthreeyearsun=ltheybegantodriXapart,likelyduetoKeats’tuberculosis.ManyyearsaXerKeats’owndeathin1821,financialreversalsledHaydontocommitsuicide,asKeats’workwasposthumouslygainingsteam.Theopposingtrajectoriesoftheirlives
complicatethemask’shistoryandmakeitallthemoreintriguing. ItisastonishingthatsuchanimportantpieceofhistoryissoreadilyaccessibletostudentsatWellesley.TheimpressionofKeats’facewatchesoverstudentsastheyporeoverallofthetreasuresSpecialCollec=onsholds.ThemaskprovidesunparalleledinsightintoKeatshimself—hisfacialfeatures,hisres=ngexpression,andhisprojec=ontotheworld.ThemaskitselfholdssignificanceinKeats’ownhistoryandhighlightshisstruggletoleavealegacy.
Equallyinteres=ngisthehistoryofthemask’sar=st,bothbecauseofhisfriendshipwithKeatsandowntrajectoryasanar=st.Thedonoroftheobject,aWellesleyprofessorofEnglishLiteratureforforty-oneyears,addsevenanotherlayertothismask.Wasshetoothinkingaboutherlegacyalongwiththatofapoetshelovedteaching?Behinditsimpassivefeatures,thelifemaskofJohnKeatsconcealsmysteryanddrama.Yet,evenassomeonefascinatedbyKeats,Ihadwalkedpastthisobjectmany=mesandonlyno=ceditasaminorcuriosity.Digdeeper,askques=ons,anduncoverhistory—moreoXenthannot,wallstendtobefarfromquiet,especiallyinaplaceasrichintradi=onasWellesley.
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