Hull House Has a Visitorโ€ฆAnd the Rest is History by Terrence J. McDonald.

A sepia-toned portrait of a man with short hair and a thick mustache, wearing a suit and bow tie, looking slightly to his left.

In early December 1893 Chicagoโ€™s Hull House had an important visitor. The minutes of the residentsโ€™ meeting for December 10 noted that โ€œMiss Addams announced that she had been honored with a visit from Alderman Powers, who proposed giving some thousands of pounds of turkey and beef to the poor of the ward at Christmas, and desired Hull House to make the distribution.โ€ The proposal from Nineteenth Ward Democratic Alderman John โ€œJohnnyโ€ Powers set off a strenuous debate among the sixteen settlers at the meeting, with the minutes recording a โ€œprotest,โ€ two motions, and an amendment. Finally, โ€œby general consent it was agreed that the Chief [Addams] should write to Mr. Powers, as she had herself suggested, to the effect that Hull House had so much provender sent in at Christmas time that it would be well for him to distribute his turkeys through other agencies.โ€

So began what would become one of the most famous, complicated, and significant relationships between a โ€œbossโ€ and a โ€œreformerโ€ in American history. From then until the spring of 1898, Addams and her Hull House colleagues would steadfastly oppose Powers, first simply by attempting to clean up the ward without his permission, then by coordinating two attempts to defeat him for reelection to his aldermanic seat in 1896 and 1898. More important in the long run, Addamsโ€™s own reflections on this relationship would become among the most famous of her early writings and also a major source for thinking about the conflict between bosses and reformers and the possibilities for a kind of โ€œsocial ethicsโ€ in the American city in twentieth-century America, in her own time and thereafter.

Book cover for Nearly Neighbors by Terrence J. McDonald, featuring black-and-white portraits of a mustached man in a suit and a woman in a high-collared dress seated in a decorative chair.

But my new  book, Nearly Neighbors: Jane Addams, Johnny Powers, and the Progressive Political Imagination is the first โ€“ ever โ€“ to attempt to write a contextualized history of this encounter,  embedding it in the social and political culture and structures of Chicago and the Nineteenth Ward in the 1890s and using that context to understand both how Powers and Addams operated politically and how her โ€“ definitely important โ€“ writings about this experience portrayed it.   

By 1896 Addams began lecturing on the way that ward bosses prospered politically, and by 1897 she had written a talk that was often entitled โ€œEthical Survivals in City Immorality.โ€ A much revised and lengthened version of this lecture was published in the International Journal of Ethics in 1898 under the title โ€œEthical Survivals in Municipal Corruption,โ€ and then a shortened form appeared in The Outlook, where it received the more popular title โ€œWhy the Ward Boss Rules.โ€ A version of the long version of this essay became the stirring last chapter of her 1902 book, Democracy and Social Ethics, and formed the core of her remarks at the 1904 Worldโ€™s Fair, which were published as โ€œProblems in Municipal Administrationโ€ in the American Journal of Sociology in 1905.

Addams set out in these writings humanely to reject the reigning conception among some reformers that municipal corruption stemmed from โ€œignorant foreignersโ€ driven to the polls by devious politicians. She wrote that the โ€œsimple peopleโ€ of the ward were cultureless, bound together only by their โ€œbasic human nature.โ€ But importantly they were also bundles of genuine economic need. Her argument was that it was perfectly rational for โ€œneedyโ€ immigrants to vote for corrupt politicians, and furthermore, that satisfaction of those immigrant economic needs that were legitimate by an expanded local state was the pathway to โ€œsocial democracy.โ€

In recognizing these needs, she argued โ€“ for a job, bail money, legal โ€œpull,โ€ rent money, presents at weddings, help with funeral expenses, etc. — the ward bosses, corrupt as they were, at least noticed them. Reformers, meanwhile, spent their time complaining about this state of affairs rather than humanely recognizing the needs of the immigrants.  Addamsโ€™s ringing conclusion was this: โ€œIf we discover that men of low ideals and corrupt practice are forming popular political standards simply because such men stand by and for and with the people, then nothing remains but to obtain a like sense of identification before we can hope to modify ethical standards.โ€

A woman in a Victorian-era dress with puffed sleeves sits on an ornate chair with carved griffins, looking slightly to the side. The photo is black and white, with a formal, historical atmosphere.
Jane Addams, ca. 1898

Addamsโ€™s views were powerful because of her position: not only was she living among the immigrant poor since 1889, but, unlike many others in the settlement movement she had bravely challenged the political โ€œbossโ€ of the ward.  But to make this argument Addams completely mis-characterized the ward population.  Her starting assumption that immigrants were โ€œculturelessโ€ was her rationale for the work of the settlers which was, after all, to bring the โ€œcorrectโ€ culture to the immigrants.  But this led her to ignore the dense markers of ethnic culture in the ward and, in particular, to leave out the fact that Hull House was surrounded by five ethnic Catholic parishes and their schools, including the largest English-speaking Catholic church in Chicago, Holy Family โ€“ home of the Irish โ€“ whose steeples were clearly visible from Hull House. These churches and schools had been in operation for decades before Hull House opened but the word โ€œCatholicโ€ would only casually appear in any version of her writings, and the word โ€œIrishโ€ would play no significant causal role. 

Moreover, her account ignored the event that galvanized an ethnic Catholic political identity, a ferocious statewide 1892 battle over a new compulsory education law that gave public school boards the power to qualify all parochial schools โ€“ Catholic, Protestant, or other — for meeting the law. Although Hull House resident Florence Kelley was more vociferous in her support for the law Addams, too, sided with the reformers against her ethnic neighbors.  And although neither of them was a nativist, the campaign on behalf of retaining the law was riddled with nativist arguments.

This battle has been mis-characterized by those around Hull House including pioneering scholars Edith Abbott and Sophonisba Breckinridge — as a fight over teaching in foreign languages.  But this meant nothing to the Irish, all of whose clergy and schools used perfect English.  The issue for all sponsors of parochial schools was control of the curriculum and, yes, the ethnic recognition that the Irish and Germans, in particular, demanded but that Addams, Kelley and the reform coalition refused to deliver. The schools were a remarkable testimony to the belief of hard-pressed immigrants, many of whom were illiterate, in the power of education for their children.  But this reality seemed lost on the upper-class reformers in favor of the law including those at Hull House.  And this failure of recognition eliminated the possibility of an alliance among both reformers and immigrants on behalf of education.

Condemned by Catholic and Protestant clergy alike, the law was quickly repealed after the election of Democratic governor John Peter Altgeld and Democratic majorities in both houses of the Illinois legislature.  Because municipal elections in Chicago occurred in the spring and state elections in the fall, this battle did not involve Powers directly at first. Powers had immigrated to Chicago in the 1870s and thanks to the pioneering work of an uncle and Powersโ€™s future wife had become the owner of both a bar and a grocery store in the ward.  He was a practicing Catholic, sent his children to the Catholic schools, and belonged to the relevant Irish associations.  But in a ward where every elected official was the same there was little need to stress his background for most of the years after his first election in 1888. For most of that time, too, he simply ignored Hull House in his campaigns. 

A sepia-toned portrait of a man with short hair and a thick mustache, wearing a suit and bow tie, looking slightly to his left.
Johnny Powers

But the political persistence of Addams led Powers to shift to a completely identity-based campaign in 1898. Its symbolic and real climax was a parade on the Saturday night before the election that local reports said involved 3,000 marchers and thousands of spectators and formed up about a block away from Hull House.  The parade itself was based on the periodic parades for first communions and holy days at Holy Family and the Holy Family youth temperance band (funded by Powers) โ€“ the St. Matthewโ€™s Cadets — led it off.  Of special interest were the Ladies Auxiliary of the Nineteenth ward Democratic Club and the Nineteenth ward Businessmenโ€™s Club.

Neither the St. Matthewโ€™s Cadets nor the Ladies Auxiliary or Businessmenโ€™s Clubs had been seen in ward politics before.  Powers had funded the first, and his campaign clearly organized the second and third. The Cadets were named after the famous Irish temperance advocate Father Theobold Matthew and proved that although Powers was Irish and a bar owner, he was comfortable with personal temperance efforts, including those of Holy Family parish itself. The Ladies Auxiliary and Businessmenโ€™s Club carried heavier water, the former to show that the โ€œlocalโ€ women supported him โ€“ unlike those at Hull House โ€“ and that latter that the โ€œcalumniesโ€ in the speeches and writings of the settlers and their candidates damaged the economic interest of the ward. 

But the key thing about this parade and the campaign more generally was the ability of Powers to identify himself as a member of the ward based ethnic, religious, and political culture defending its interests against the โ€œdowntownโ€ elites displayed in the Hull House campaign.  Unable to respond carefully to this neighborhood appeal the reform forces disastrously invited as their keynote speaker against Powers an โ€œuptownโ€ city council member who was the son of a United States supreme court justice and graduate of Princeton who emphasized that Powers was the โ€œPrince of Boodlersโ€ on City Council. Powers took 72 percent of the votes in this election and would remain on the council until 1923.

Although the settlers promised to keep up the fight, Hull House withdrew from ward politics just before the municipal election of 1900. In explanation Addams claimed that it was because, given his โ€œwealth and political methods he could easily defeat any honest man.โ€  But this had little to do with his victory.  He was certainly rich and he may very well have been corrupt but had won in 1898 because โ€“ partially out of desperation โ€“ he had found a way to endorse and celebrate the identity of the ward against the โ€œdowntownโ€ interests and โ€œhectoringโ€ reformers โ€“ most of whom had publicly supported the controversial school law that Addams herself never condemned.

It was an article of faith among progressive era intellectuals and reformers โ€“ originating with the young John Dewey — that an โ€œunidentifiedโ€ political subject and thus emerging citizen existed.  In her important 1902 essay โ€œFriendship in Politics,โ€ the New York settlement worker Mary Kingsbury Simkhovitchโ€”clearly influenced by Addams โ€” wrote that progress toward that goal was actually being made. โ€œThat is the hopeful thing about democracy,โ€ she wrote, โ€œit is slow but thorough.  A common consciousness is arising. The man is becoming the citizen.โ€ This emerging โ€œcommon consciousnessโ€ was a consciousness of shared human needs, not of differingโ€”and sometimes conflictingโ€”cultures. And it was founded on and ratified by the all-important experience of the settlement workers on the urban front lines who defined their mission as bringing culture to the immigrants, not necessarily discovering the role of immigrant cultures in political mobilization.

But as historian Richad Oestreicher pointed out in a classic essay about class and politics in the American city it is the process of political mobilization that helps create political consciousness and not the other way around. And that initial mobilization leaves a mark.  This process was repeated in Chicago through the next decades with the rise of the United Societies for Local Self-Government as the bane of reformers and the foundation for the election of the cityโ€™s first foreign born mayor, Anton Cermak. 

 Addamsโ€™s wise โ€“ if misdirected — words ring down through the centuries: โ€œIf we discover that men of low ideals and corrupt practice are forming popular political standards simply because such men stand by and for and with the people, then nothing remains but to obtain a like sense of identification before we can hope to modify ethical standards.โ€  But identify with what? The immigrants around Hull House were bearers of culture and not just bundles of economic needs. Their enrollment in what has come to be called โ€œidentityโ€ politics was a foundational historical reality rather than an obstacle to historical development based on some other criterion, such as class, mobility, assimilation, etc. And the failure of otherwise brave and self-less settlers to understand this has impeded the development of a positive theory of a multicultural society down through the twentieth century.


Selected Sources:

Jane Addams, “Residentsโ€™ Meeting of December 10, 1893,โ€ in The Jane Addams Papers, 1860โ€“1960, ed. Mary Lynn McCree Bryan (Ann Arbor, MI: University Microfilms International, 1984).

Jane Addams, “Ethical Survivals in Municipal Corruption,” International Journal of Ethics 8, no. 3 (April 1898): 273โ€“91; “Why the Ward Boss Rules,” The Outlook 58, no. 14 (April 2, 1898): 879โ€“82; โ€œPolitical Reform,โ€ in Democracy and Social Ethics (New York: Macmillan, 1902), 221โ€“77; โ€œProblems in Municipal Administration,โ€ American Journal of Sociology 10, no. 4 (January 1905): 425โ€“44. Twenty Years at Hull-House with Autobiographical Notes (New York: Macmillan, 1910).

Abbott, Edith, and Sophonisba P. Breckinridge. Truancy and Non-Attendance in the Chicago Schools: A Study of the Social Aspects of the Compulsory Education and Child Labor Legislation of Illinois. Chicago: University of Chicago Press, 1917.

Hamilton, Alice. Alice Hamilton to Agnes Hamilton, April 3, 1898. In Barbara Sicherman, Alice Hamilton: A Life in Hamilton Letters, 120โ€“22. Cambridge, MA: Harvard University Press, 1984.

Dewey, John. The Ethics of Democracy. Ann Arbor, MI: Andrews, 1888.

Simkhovitch, Mary Kingsbury. โ€œFriendship and Politics.โ€ Political Science Quarterly 17, no. 2 (1902): 189-205.

Oestreicher, Richard. โ€œUrban Working-Class Political Behavior and Theories of American Electoral Politics, 1870โ€“1940.โ€ Journal of American History 74, no. 4 (March 1, 1988).

Jane Addams, Karma Yogi

A black-and-white historical photo shows six men seated in front, wearing various traditional and Western clothing, with a woman and a statue of a woman holding an arm up in the background.

A black-and-white historical photo shows six men seated in front, wearing various traditional and Western clothing, with a woman and a statue of a woman holding an arm up in the background.
Vivekananda (center right in turban) at the Parliament of Religions, Chicago Columbian Exposition, 1893 (Wikipedia Commons)

It was my first weekend of an intensive 200-hour yoga training course. I was sitting with my yogi cohorts on my mat after an energetic yoga flow. We were listening to our first yoga humanities lecture on the history of yoga. Yeah! History is always the very best place to start when exploring any new topic or activity. I was enthusiastically taking notes on the history handout, listening to tales of ancient and modern practices of yoga, whenโ€”bam!โ€”there was Swami Vivekananda, a Hindu monk from India, coming to Chicago in 1893 to participate in the Parliament of Religions held at the Worldโ€™s Columbian Exposition. On this visit to the United States, Vivekananda introduced the practice of yoga and โ€œmade a big and lasting impression on the American public,โ€ wrote Georg Feuerstein, yoga scholar and author of โ€œA Short History of Yoga.โ€

Jane Addams was in Chicago in 1893. She attended that Chicago Worldโ€™s Fair. She was curious about everything, always learning, always open to new philosophies and practices, always eager to bring fascinating people to Hull-House. I bet she met Swami Vivekananda, I thought.

At the first opportunity, I searched for Vivekananda in the Jane Addams Digital Edition. And there he was! He was tagged to a speech Jane Addams delivered in November 1933 in which she said:

Black and white photo of a man in traditional Indian attire with a turban, arms crossed, looking sideways. There is handwritten text in English and another script on the left and right sides of the image.
Vivekananda, c. 1893 (Wikipedia Commons)

โ€œI am reminded of a story told to me forty years ago by Vivekananda, a great Hindu teacher who went about in India expounding what he thought to be the great meaning and the purpose of life.โ€ Forty years ago was 1893.Yep, Jane Addams knew Swami Vivekananda. Of course, she did. After a little more digging, I also found that Addams had related this same Vivekananda story in a 1911 speech about selflessness and charitable work, and I was able to then identify the โ€œnative of of East Indiaโ€ she referenced as Vivekananda himself. In this research, I also located three new Jane Addams letters to add to our digital edition.

In Addamsโ€™s 1933 speech, given during the terrible throes of the Great Depression, she recounted Vivekanandaโ€™s allegorical tale in detail:

โ€œHe told about a woman who found herself at the bottom of a pit. I suppose every religion has some sort of pit in it which it brings out on occasion. This woman was at the bottom of the pit, very hot and very uncomfortable. Because she felt so uncomfortable and so unhappy she sent up prayer after prayer to the throne above, begging that she might be released from this punishment. Finally word came down to her that if she could think of one unselfish thing she had ever done it would be taken into consideration and perhaps she would be taken out.

โ€œShe thought and thought, trying to remember an unselfish act. Finally she remembered that one day when she was sitting in her doorway getting some carrots ready for dinner a blind beggar came by and asked her for something to eat and that she had given him a bad carrot that she was not going to use herself anyway. It was not a very unselfish act, but the best that she could recall.

โ€œThen she waited. After a while there came down into the pit from above a carrot attached to a string. It came lower and lower. She was told to take hold of this carrot and that perhaps it would pull her up. So she took hold with great fear and trembling. It began to go up and went up farther and farther and the atmosphere grew more salubrious and she felt very much happier. Then she looked back and found that somebody was clinging to her feet and coming with her, and somebody else was clinging to his feet and somebody clinging to the feet of that man. There was a whole string of people coming out of the pit upon this one carrot. She knew that it would not last very long. She knew that it was not a good carrot; so she called out โ€˜Let go, this is my carrot, my one chance to get out of this place.โ€™ Then, of course, the carrot immediately broke and they all went down together.

โ€œVivekananda contended that if we were not thoroughly concerned about our neighbor’s good, if we were not given to considering their good quite as valuable and important as our own, then we were not on the right path of going up. When we begin to say, โ€˜This is mine and mine alone,โ€™ then we are sure to drop back.โ€

Born Narendranath Datta into an upper-middle-class family in Calcutta in 1863, Vivekananda studied at Presidency College before becoming a disciple of the Hindu mystic Ramakrishna (spiritual guru and founder of the Ramakrishna Order) in 1881. He studied and toured throughout India before coming to the United States in 1893. In lectures and various public and private appearances, Vivekananda shared the Vedanta philosophy based on four sacred Vedic texts. In his lectures he discussed those texts, like the Bhagavad Gita (a first century epic Sanskrit poem), the divinities of Hinduism (Vishnu, Shiva, and various goddesses), and yoga. It is unclear when Addams heard the story of the woman and the carrot, but there were multiple opportunities for her to hear Vivekananda speak. He was in Chicago from September 1893 through June 1894, delivering multiple speeches at various venues. He also visited Hull-House at least once during this time, delivering a lecture on the economic and social conditions in India on October 24, 1893. After his Hull-House lecture, at which Addams was likely present, Vivekananda entertained questions for an hour, overseeing a lively discussion.

Addams may have also attended a Vivekananda lecture in New York City in December 1895; and Vivekananda was back in Chicago for appearances in April 1896. During that latter trip, he wrote to a friend: โ€œEverything has been well arranged here, thanks to the kindness of Miss Addams. She is so, so good and kind.โ€

Vivekananda returned to Chicago in late November 1899 and visited with Addams at Hull-House. Before his arrival in Chicago his disciple, Sister Nivedita of the Order of Ramakrishna (born Margaret Elizabeth Noble in Ireland), lodged at Hull-House for several days. She described the settlement ethos as โ€œperfect self-forgetfulnessโ€”all generosity and enthusiasm.โ€ In a letter from Chicago, she wrote: โ€œAt Hull House I feel myself in a more natural atmosphere than elsewhere. โ€ฆ Thereโ€”one is in the world. The whole interest is life and ideas.โ€

After Sister Nivedita delivered a lecture at Hull-House on November 20, she wrote: โ€œLast night at Hull House I really did feel that we had had Swamiโ€™s blessingโ€ฆ60 or 70 people stayed about 1ยฝ hour to ask questions about the philosophy. And such intelligent questions too!โ€ Sister Nivedita was impressed with the settlement and inspired by Jane Addams and Ellen Gates Starr (โ€œI love her so much,โ€ she later wrote of Starr). Sister Nivedita gave at least two more lectures at Hull-House, including one to the Chicago Arts and Crafts Society entitled โ€œThe Ancient Arts of India.โ€

A newspaper clipping announces a lecture titled Religious Life in India by Sister Nivedita of Calcutta, scheduled for Monday, November 20th at 8 p.m. Admission is free.
Notice in Hull-House Bulletin 3, no. 12 (Nov.-Dec. 1899): 1, JAPM, 53:1083.

Sister Nivedita dedicated her life to the study of Hinduism and to the education of girls in India. She also nursed patients in Calcutta during a bubonic plague epidemic in 1899, and later joined Gandhiโ€™s movement to liberate India from British rule. Sister Nivedita described Jane Addams as โ€œa clear-headed quiet and unassuming person,โ€ and she was so impressed with Addamsโ€™s compassion and reform work to better the lives of vulnerable people, she called Addams a karma yogi.

Today, we think of yoga mostly as a practice of movement, meditation, and breath work. However, there is also a deep cultural and spiritual practice associated with yoga that emphases compassion for self and others, moral restraints (yama) such as nonviolence and truthfulness, and observances (niyama) such as study and contentment. The practice of karma yoga has some uncanny philosophical similarities with the Progressive Reformers. Selfless service. A desire to perform oneโ€™s duty without attachments to personal gain. Motivation of a social gospel for collective uplift. Commitment to justice and nonviolence. The idea that all people are worthy of dignity and respect, akin to possessing, in the language of yoga, Atman, or the true nature within all beings.

Karma is the universal law of cause and effect. Karma yoga is โ€œthe practice of serving others while seeking to relinquish the ego judgments projected by oneโ€™s own ego.โ€ A karma yogi gives freely of herself and is self-controlled, sincere, truthful, loving, and filled with the desire to serve.

That philosophy sounds just like Jane Addams to me.

Jane Addams sits outdoors, surrounded by a group of attentive children. The children, both boys and girls, are sitting and standing around her, listening closely. The setting appears to be a school or courtyard.
Swami Jane Addams (University of Illinois Chicago, Jane Addams Memorial Collection)

Jane Addams dedicated her life to improving the lives of vulnerable peopleโ€”children, immigrants, women, and the working poor. She cared deeply about people she knew in the Hull-House neighborhood and in Chicago as well as the people she didnโ€™t know in Illinois, in the United States, and throughout the world. She gave all her money and energy to the causes she served. Jane Addams was not driven by ego, and she lived a life of compassion and nonjudgment. She always sought to understand people on their own terms, to respect their beliefs and cultural traditions, to study the social and economic conditions that affected their health and wellbeing, and to tell the truth about the social ills she witnessed. She used her talents as an organizer, a philosopher, a public speaker, and a writer for the good of society not for personal wealth or accolades.

Addams wrote in 1910: โ€œIf at times the moral fire seems to be dying out of the good old words, relief and charity, it has undoubtedly filled with a new warmth certain words which belong distinctively to our own times; such words as prevention, amelioration and social justice. It is also true that those for whom these words contain most of hope and warmth are those who have been long mindful of the old tasks and obligations as if the great basic emotion of human compassion had more than held its own. After all, sympathetic knowledge is the only way of approach to any human problem.โ€

Philanthropic endeavor to Jane Addams was more than an occupation, it was a higher calling. She would not have defined what she was doing as karma yoga, but she was emulating the very heart of its philosophy.

Here is a humble sampling of Jane Addams Yoga Sutras (sutra = thread; general truth; rule or aphorism):

โ€œNo man, whatever his genius or his organizing ability, can hope to permanently uplift himself or his followers, unless with them he uplift the masses.โ€โ€” How Would You Uplift the Masses?, February 4, 1892

โ€œToo often we make our attitude toward the poor one of duty rather of sympathy and love. This must be changed if success would attend our efforts.โ€โ€” Social Settlements, August 12, 1900

โ€œThe gravest charge I have to bring against Child labor is that it pauperizes the consumers, all of those who use the product into which this labor has entered. If I wear a garment which has been made in a sweatshop or a garment for which the maker has not been paid a living wage, or a wage so small that his earnings had to be supplemented by the earnings of his wife and children, then I am in debt to the man who made my cloak. I am a pauper if I permit myself to accept charity from the poorest people in the community.โ€โ€”Child Labor and Pauperism, October 3, 1903

โ€œThe fittest man in a community is not the man who crushes his rival in business, who survives all his rivals, but the man with the greatest and broadest sympathies. The desire to crush out others, whether commercially or physically, is a sure sign of arrested development. As we go on to a deeper understanding of the philosophy of life we avoid combat more and more.โ€โ€”Newer Ideals of Peace, February 19, 1904

โ€œWe must search in the dim borderland between compassion and morality for the beginnings of that cosmopolitan affection.โ€โ€”Newer Ideals of Peace, 1907

โ€œMan excited is quite different from man when calm. When we are angry we talk of what weย canย do; when our anger has passed away we consider what weย shouldย do.โ€ Is the Peace Movement a Failure, November 1914

Stacy Lynn
Associate Editor

Notes: Darren Main, Yoga and the Path of the Urban Mystic, 2nd ed. (iUniverse Star, 2007), 57-62, 73, 76-94, 224; โ€œVivekanandaโ€ (1863-1902), Nivedita (1867-1911), and Ramakrisna (1836-1886),ย Encyclopedia Britannica; John Henry Barrows, The Worldโ€™s Parliament of Religions, 2 vols. (R. R. Donnelley, 1893), 1:66, 5, 101-2 (speech), 118-20 (fable), 124, 128-29, 148, 153, 170-71; 2:968-78, 1590; โ€œChronology of Vivekanandaโ€ (https://chronologyofvivekananda.rkmm.org/k); โ€œSister Niveditaโ€™s Battle for Indian Ideals in America,โ€ Daily Katha blog, June 24, 2018; Vivekananda to Sarah Chapman Bull, April 6, 1896, in Advaita Ashrama, ed., Letters of Swami Vivekananda (Modern Art Press, 1940), 306; Letters of Swami Vivekananda, 111; Swami Vivekananda, Yoga Philosophy: Lectures Delivered in New York, Winter of 1895-96 (Longmans, Green & Co., 1896); Sankari Prasad Basu, ed., 2 vols., Letters of Sister Nivedita (Nababharat Publishers, 1960), 1:229, 230, 241, 248-51; The [Chicago] Inter Ocean, Dec. 2, 1899, p. 13; and from the Jane Addams Digital Edition (the first three are newly located): Margaret Noble (Sister Nivedita) to Jane Addams, Feb. 14, 1906; B. M. Malabari to Jane Addams, May 26, 1906; Jane Addams to Sara Chapman Bull (Mrs. Ole Bull), June 23, 1906; Charity and Social Justice, June 11, 1910; Address at the Indiana State Conference of Charities and Correction, October 29, 1911; November 1914; Pioneering in Social Work, November 1933.

Womenโ€™s Activism Before the Second Wave: The Case of Florence Scalaโ€™s Leadership in the Working Class Neighborhood of Hull-House

A woman in a striped dress and headscarf speaks into a microphone while holding papers, addressing an audience in a formal setting. People are seated in the background, listening attentively.

By Rima Lunin Schultz

A woman in a striped dress and headscarf speaks into a microphone while holding papers, addressing an audience in a formal setting. People are seated in the background, listening attentively.
Florence Scala speaking at City Hall in 1961 (Chicago Tribune).

In 1963, as Ann Keating recounted in her prior blog, Florence Scala had already been engaged as a social activist for several decades in the neighborhood made famous by Jane Addams. She had participated as a leader in the grassroots organization of her community on the Near West Side, had brought the various groups of people together in herย  working-class neighborhood to develop a plan to improve the community and remain residents.ย  This challenged the pattern of urban renewal that had emerged after World War II in American cities, where working-class residents were being moved or were moving themselves into suburban locationsย  away from their original neighborhoods close to the central city and the cultural and social institutions that they as immigrants had built. Here was a different attempt to live in urban space in an integrating and economically and socially mixed community that supported working-class culture.ย  Scalaโ€™s neighborhood was not characterized as a strong hold of feminist militancy.ย  Rather it was a place filled with religious and cultural institutions, ethnic shops

Florence had run for political office by 1963, twice. She hadn’t succeeded in winning, but she had given the city politicalย  organization, the political machine in Chicago, a scare. They had noticed her and worried about the spread of the democratic ideas and self-governing philosophy represented by her campaigns and her leadership.

When we look at the Scala’s story, it differs from the idea of a narrative of retreat, flight, and private life depicted by middle-class feminists of the second wave, when they began to develop a narrative of the origins of what they believed was a new and unique social movement of women who were being awakened from a kind of passivity and even apolitical consumerism as homemakers separated from the public events and public issues of the 40s and 50s and even early 60s. Remember 1963 is the publication date of Betty Friedanโ€™s The Feminine Mystique. ย  Florence Scala and the women of the near west side who joined her in the Harrison Halstead Street community group were not passive. They were not living private lives, disconnected from public issues. They were not separated from the challenges of urban life. Their narrative is very different.

Historians have begun the reclaiming or rediscovery of the working-class history in neighborhoods of urban America from the 1930s through the 1970s, and have begun to understand more fully that one of the major themes of the second half of the 20th century has been the transformation of cities by the intentional breakup of working-class neighborhoods. This was accomplished by the clearance of working class neighborhoods and the construction of upper and middle class housing in their place.

These working-class neighborhoods we have found in our research were never considered final or permanent parts of American urban life by the social reformers who cared deeply for the well-being of individual families, children, women, and men of the working classes but did not see the answer in working-class culture itself but only in the transformation of that working-class culture into something that resembled the middle class. It is not an accident then that we have failed to write the history of social activism of women of the working class.

We haven’t paid enough attention to the activities, daily life, and resistance and resilience of neighborhoods, the mixture of people and ideas that made up the social fabric of these neighborhoods and the value that the heterogeneity of these neighborhoods held for American democracy. Florence’s story becomes even more significant when we link it to the activities and efforts in cities across industrial America and when we begin to gather the biographies of women whose efforts to construct solutions for their communities brought them into public life alongside the men in the community just as they had joined the workforce at the beginning of the 20th century, even earlier, and had been visibly part of public life in working-class neighborhoods all along. They were never absent.

They were never isolated. They were connected and they were part of the social fabric of these communities. More than being part of the social fabric, they were builders of that social fabric along with male leadership and of course they had disabilities because of their sex.

How much credit should weย  give for Scalaโ€™s activismย  to Jane Addams and women of Hull-House? Florence is our best guide in evaluating the factors influencing her formation as a civic minded and ethically engaged community leader.

Jane Addams sits outdoors surrounded by a group of children, attentively listening to her. The scene appears historical, with everyone dressed in early 20th-century clothing.
Jane Addams and children on the steps of terrace in front of the resident’s dining hall. (University of Illinois, Chicago , Jane Addams Memorial Collection).

What Florence tells us in her talk to the teachers at Andrew Jackson Elementary School in 1994 is an important message. She tells the teachers how meaningful their role was in the neighborhood. They were guides and models of some of the best things about being American. Florence tells us something additionally about them. She says, they were able to understand us, meaning the children of immigrants, because they were themselves the children of immigrants.

These Irish American school teachers who taught Florence and her brothers at the Andrew Jackson School were themselves the products of this experience of becoming American. They modeled a kind of civic life, a public life, as educated women whose standing in the community at that time was important. They were respected and they were leaders.

Five people in tattered clothing make dramatic, animated facial expressions and gestures, with arms raised and eyes wide, conveying intense emotion against a plain background. The photo is black and white.
Hull-House production of a Tale of Two Cities. Florence Scala is second from left. (Wallace Kirkland. University of Illinois at Chicago).

In an interview Florence recounted that the Irish American teachers were catalytic in bridging her family to the Social Settlement.ย  Florence remembered that her parents were not that eager to let their children go to Hull-House as they were wary ofย  sending her away from their gaze, their supervision. We can speculate further about the complicated social fabric of the neighborhood and the various opportunities for social growth.ย  Many of the first and second generation American teachers had been educated in the Roman Catholic schools in working class neighborhoods.

But Florenceโ€™s parents listened to the school teachers and she went to Hull-House, where women likeย  Jane Addams and Julia Lathrop, stood out as exemplars of women who supported educational opportunities for immigrant and working class children.

A group of people, mostly young adults, pose cheerfully on a large wooden playground structure in a park, smiling and waving. The structure is pyramid-shaped, and some people are sitting while others are standing or climbing.
Hull-House resident Edith de Nancrede (bottom left) and her social drama club. (University of Illinois at Chicago)

More than offering classes in the arts and in practical subjects, as well as history and civics, through clubs and summer camp Hull-House infused the working class children with a belief in their own value.ย  Scala explored her own interests and she realized there were possibilities for her own growth.ย  Florence made that connection and these women at Hull-House became models, models of independent, educated leadership of womanhood that could have a career, that could change the world. Florence was especially interested in dramatics.

Black and white portrait of a Julia Lathrop wiith dark hair styled up, wearing a high-necked, long-sleeve light-colored blouse with ruffles and lace details, looking slightly to the side with a neutral expression.
Julia C. Lathrop, Hull-House resident and director of the Federal Children’s Bureau from 1912-1921. (Twenty Years at Hull-House).

The neighbors knew that Jane Addamsย  traveled abroad, that she spoke with important leaders in other countries, that she was for peace and opposed war, that she was for certain kinds of reforms in the United States. They had this idea of her and she was a model and she was real to them in the sense of showing, demonstrating how you could be a leader, a force in the public arena, a person of influence, who could encourage presidents and prime ministers to adopt certain programs. Julia Lathrop, went to Washington, D.C., to head the Children’s Bureau.ย  They were women who modeled women of service.

But it was not just Hull-House that demonstrated social activism and women participation in the social fabric of life. The women religious, who were the teaching sisters in the Roman Catholic schools in the neighborhood,ย  the women who were part of the congregational life of the parish churches, they had a degree of autonomy and agency that belies the fact that they were part of a religious institutional structure that was hierarchical, patriarchal, and in many ways conservative, and certainly not feminist. Yet, in the context of parish life and of the parochial schools that were set up and run independently of the male diocesan hierarchy, they had independence to some degree.

They were outspoken, independent women religious, like the guardian angel woman religious, Sister Filibert (Spizirri), who was a major supporter for the work that Florence and her activist women were doing in the neighborhood. Again, demonstrating a model of womanhood in a working class community that defied the stereotype of an obedient and passive nun who was under the thumb of the male clergy. Beyond this, or even before this, Florence had her mother and a grandmother and other mothers and grandmothers in the neighborhood who were part of the entrepreneurial journey that had taken them from Europe to America, to Chicago, to the neighborhood where they had found a way to own a store, a bit of property, to have made their way into the comfortable working class that lived in this near west side neighborhood of very mixed economic outcomes.

Sepia photo of an old-fashioned grocery store with shelves of cans and goods. A woman stands behind the counter, another woman holds a child in front. Various products and sacks are visible throughout the cozy shop.
Genarosa Napolitano and Mary Marinello holding Rose Marinello at 13 months old, in the family grocery store on Polk Street. (Courtesy of Father Steven Giovangelo).

 

Property ownership, home ownership, retail proprietorship flourished and we can see how women worked outside the home in these family businesses, holding their babies with them. These were family businesses and the community supported this kind of entrepreneurship. They worked alongside their husbands.

One of the things we learn about the Giovangelo family is that Florence’s mother worked alongside her father in the tailor shop. She ironed, she worked alongside his craft as a tailor.ย  The household was integrated into an economic unit that allowed the children to be near their mother and father, to have the mother and father have a partnership that sustained the family business.

So women were working. Then of course there were the women in the neighborhood who were working in factories, were taking homework back to their apartments andย  toiling,ย  on night shifts, were part of the trade unions.ย  They also were out on strike, were part of the picket lines. This was the working class neighborhood that Florence Scala inhabited.

There was no lack of female models of womanhood that projected engagement with the real world, engagement with public life, engagement with the economic realities of daily life and of the cultural and social institutions that made up the religious and cultural and ethnic activities of the neighborhood.ย  Florence and other working class women could readily see themselves in these women and dream of getting more education, of following new pathways and making decisions about their lives. What is interesting about the middle class version of working class life, which is the story of the men and women in the neighborhood that Jane Addams tells us, in her famous Twenty years at Hull-House and in other writings that she did in her lifetime, is how different her narrative about immigrant women in the neighborhood is from the one that I am describing. In the beginning, Jane Addams did not understand the immigrant women in her neighborhood very well. She thought of them as being isolated, disconnected, not just from the life of the city itself, but disconnected even from their own children who were going to become Americans very fast, very rapidly.

She saw that the Italian women, the Jewish women, Greek women, were not able to have the same relationships with their children that they had had prior to moving to America. They were disconnected, isolated. She tells a number of stories in Twenty Years at Hull-House that identify this situation (Jane Addams, โ€œFirst Days At Hull-House,โ€ Chapter 5 in Twenty Yearsย  at Hull-House with Autobiographical Notes (New York: Macmillan, 1910), 110-111).

Women who don’t know much more than what they can learn from the small place they live in, the block they live in. They don’t know about the world outside. They can’t connect.

She sees them as she worries about them, she cares about them, but she does not see them as a source of strength, a source of activism. She does not see them as participating in a social life, she says they have no social life (Jane Addams, โ€œForeign-Born Children in the Primary Grades,โ€ National Educational Association Journal of Proceeding and Addresses of the Thirty-Sixth Annual Meeting Held at Milwaukee, Wis., July 6-9, 1897 (University of Chicago Press, 1897), 106).

She means not that they don’t go to parties and that kind of social life. She means they have no relationship to the social structure in society. This is a sociological observation on her part, that they’re not connected and even if they could vote at that time, they have no relationship to a public opinion.

A sense of civic-mindedness has to develop.ย  She would not look to them necessarily as being capable of developing the kind of leadership role in the community of a Florence Scala. It’s not surprising to me when I read how the director of Hull-House at the time of Florence’s major leadership in the neighborhood, a man by the name of Russell Ballard, is happy for what Florence is doing in her political life, but would not have imagined her doing anything like that or being capable because he has his perspective, like Jane Addams’, even though he has worked closely, as Jane Addams did, with the neighbors.

Ballard has even worked more closely with neighbors, in the 1950s when he was director, was involved with the Near West Side Planning Board. He has seen the capacity of the neighbors to be their own leaders and organizers. He still retains this stereotype of working-class life and of working-class women and is hard-pressed to see Florence as something more than an energetic and well-intentioned housewife.

Addams later developed a deeper understanding of what the women in the neighborhood were really all about and she began to see that their activities, which she could not have defined initially as being a form of social activism, were indeed examples of a challenge to the conditions of life and to the patriarchy. They were a form of resilience, resistance, and in many ways a kind of feminist consciousness that she had missed in her descriptions done earlier. This realization that the women were part of a social movement that had more in common with radical feminism than she had understood before was the revelation that she writes about in The Long Road of Women’s Memory in 1916, an important book that deserves more attention (Jane Addams, The Long Road of Woman’s Memory (Urbana & Chicago: University of Illinois Press, 2002). In this, she began to understand that the working class women in the neighborhood were engaged in challenges to the system that oppressed them and their families at the same time that they were community builders developing cultural and social space for themselves and their group in very positive leadership roles.

By the 1940s, women in working-class neighborhoods were participating in movements to improve the schools, to deal with race relations, to provide daycare and healthcare for children, and to develop affordable housing. They were standing up for their rights and the rights of minorities in the state legislature and they were fighting for representation in the unions of the AFL that were traditionally resistant to women’s participation and the empowerment of women trade unionists. This was happening at the same time that other women were developing community life in suburbia, creating new religious institutions, joining PTAs, developing school boards, working for bond issues to pay for libraries, beginning to attack the major polluters who were poisoning the air and the food supply, worrying about nuclear war.

All of this was going on in this period and when we begin to examine working-class life in more complicated gendered ways and in the context of resistance to urban renewal as a form of social activism that was more than simply a reaction to the migration of blacks to northern cities, but had to do with a more complicated set of issues stemming from the failure of social reform to accept and value heterogeneous working-class districts as permanent parts of urban America.

Working class women were on a different timetable then their middle class sisters. Working class women continued to navigate family businesses, low paying jobs, and maintainย  devotional and cultural affiliations and kinship relations locally and internationally.ย  This differed from the stereotype of the American suburban housewife after World War II.ย  This paper cannot begin to dislodge that stereotype.ย  Here we are focusing on the social activism of a working class woman and her allies in a period in which womenโ€™s activism had been considered minimal.


Rima Lunin Schultz is an academic historian who has written articles and books on Jane Addams, Chicago women in Catholic and Protestant faith traditions and the culture of urban elites. She serves as a member of the Project’s Advisory Board.ย 

Florence Giovangelo Scala, Hull-House and Neighborhood Planning

Three women sit on the ground eating and drinking, while a fourth woman, standing, hands them food. They are indoors, beside a wall with a mural. The women appear to be engaged in conversation and sharing a meal.

By Ann Keating.

Note by the author: Rima Lunin Schultz and I have been working for six years on a manuscript entitled: In the Shadow of Jane Addams: Planning in a Working-Class Neighborhood, 1889-1963.ย  We have encountered many interesting characters, including Florence Scala.ย  Scala is famous for leading the unsuccessful fight against construction of the University of Illinois in the early 1960s (she was in favor of a Chicago campus but not the Near West Side location).ย  Less well known was her strong connection to Hull-House and neighborhood planning efforts.

Black-and-white photo of a three-story corner building with worn walls and a striped awning over the entrance. People walk on the sidewalk, cars are parked, and a street sign reads Taylor and S. Miller St.
Giovangelo residence at 1030 West Taylor Street (Chicago Tribune, October 19, 1962).

Florence Giovangelo Scala was born on September 17, 1918, to Italian immigrants Alex and Teresa (Scardepane) Giovangelo. She grew up with her younger brothers in an apartment above her parentsโ€™ tailor shop at 1030 W. Taylor on Chicagoโ€™s Near West Side. The Giovangelo children attended local public schools but also participated in programs at nearby Holy Guardian Angel Catholic Church and at Hull-House both before and after the 1935 death of Jane Addams. The settlement offered the siblings a place to go for sports, recreation, arts, and crafts activities.ย They particularly enjoyed theater productions under the direction of Edith de Nancrede and Eri Hulbert. In the early 1930s, Florence and her brother Ernie developed a close relationship with Hulbert, the grandnephew of Jane Addams.ย  Scala remembered that they were โ€œhis kids,โ€ and took many adventures with him.

A young man in a suit and glasses sits next to an elderly woman in a hat and dress, holding a cane, under a large tree outdoors. Both are looking at the camera with neutral expressions.
Jane Addams and grand-nephew Eri Hulbert, August 1932 (Jane Addams Papers, University of Illinois at Chicago).

On her high school graduation, Scala worked for the Federal Theater Project (WPA) at Hull-House, contributed to a local newspaper, and worked for the draft board.ย  She took college classes, got married, and lived in the same building as her parents on Taylor Street just west of Hull-House. During and after World War II, Scala, her brother Ernie (after attending the University of Illinois), and a group of their neighbors saw the threats to their neighborhood from plans for major expressways and slum clearance.ย  They found a staunch ally in Eri Hulbert who worked tirelessly to create the Near West Side Planning Board with the support of Hull-House. ย ย Scala remembered that Hulbert โ€œtorpedoed me into a big world of ideasโ€”the search for knowledge and understanding of people. To me he was a teacher and a persistent pioneer in this new idea that the people themselves must participate in the planning of their own communities.โ€[1] [2]

While her brother took a paid position with the Near West Side Planning Board, Scala volunteered as secretary and treasurer of the group between 1949 and 1958. An inveterate dog walker, Scala often had a camera in hand, taking photographs of her changing neighborhood. Scalaโ€™s photographs became a critical part of the reframing of the neighborhood not as a slum, but as a vibrant working-class district that needed rehabilitation and improvements.[3] The Planning Board undertook a survey of the Near West Side. Anita Villarreal, a thirty-six-year-old mother of six and active voice in the local Mexican community, created a seven-foot map of the area, while Scala continued to take photographs โ€œof the neighborhood, so that when we ha[d] our meetings, we could show these slides.โ€ Driving the area streets in her large car, she took candid color shots of everyday life that showed a working-class neighborhood with manageable problems. She developed and framed fifty of these images to create an illustrated lecture about the Near West Side, which she delivered to dozens of groups around the neighborhood with her brother. The siblings were central to creating an alternative to the idea that the neighborhood was blighted.[4]

Three people stand in front of a large planning board map labeled present land use, discussing and pointing to areas on the map as part of a planning meeting. The image appears to be from a newspaper.
Florence Scala, J. Ross Humphreys, and William Deknatel study a land use map. (Private collection of Father Steve Giovangelo).

Scalaโ€™s photographs, Villarealโ€™s map, and the raw survey data created a narrative to combat the idea that the whole neighborhood should be cleared. Instead, the Planning Board identified areas to be conserved, as well as some areas that would require slum clearance and redevelopment. That redevelopment could take several formsโ€”private housing, public housing, industrial renewal, and commercial revitalization. Their ideas came together in the groundbreaking 1950 NWSPB plan where, for the first time, a working-class community had developed its own plan for rehabilitation and renewal.

What followed was nearly a decade of delays and disappointments with little forward movement on the 1950 Plan.ย  Eri Hulbert died in 1955, the same year that Mayor Richard J. Daley began his long tenure at City Hall. Downtown interests had the ear of the new mayor, and they wanted new middle-class redevelopment to ring the central business district. They advocated the mass clearance of the working-class neighborhood around Hull-House. When the University of Illinois went looking for a Chicago location, Mayor Daley and those downtown interests endorsed a Near West Side location.

Three women sit on the ground eating and drinking, while a fourth woman, standing, hands them food. They are indoors, beside a wall with a mural. The women appear to be engaged in conversation and sharing a meal.
Florence Scala, left, during overnight sit in at Mayor Richard J. Daley’s office on October 11, 1962. (Frederick Giese / Chicago Tribune).

It is at this juncture, in 1961, that Florence Scala became a household name in Chicago. Her long years with the Planning Board and at Hull-House prepared her for the challenge ahead.ย  Well-known in the Near West Side for her unswerving support of planning initiatives, her neighbors pressed her to become their spokesperson. Scala quickly helped organize the Harrison-Halsted Community Group (HHCG) to protest the proposed campus site.[5]ย  She targeted the City Council and Mayor Daley in marches and sit-ins at City Hall that were well covered in local newspapers, radio, and emerging TV news. In 1963, sheย ran as an independent campaign for alderman; she criticized Chicago’s political “machine” and hoped to defend the interests of ordinary voters in her district. Scalaย endured ridicule, threats, and several bombingย attempts, but remained outspoken. But her campaign was not successfully and on March 5, 1963, the Hull-House trustees accepted $875,000.00 from the City of Chicago for their Near West Side properties.

A black-and-white photo of a large urban construction site, with multiple modernist buildings in progress, cranes in the background, and a city skyline visible under a partly cloudy sky.
Construction of the University of Illinois, Chicago campus, 1964 (College Archives, University of Illinois, Chicago).

Scala, who had for long years been a part of the Hull-House community, was bitter when the settlement turned its back on its neighbors. With the closure of Hull-House and the opening of the University of Illinois campus, the Near West Side was irrevocably changed. It was no longer a working-class neighborhood centered on industrial sites, religious institutions, local parks, and Hull-House. The university now shaped who lived and worked there. Scala lived in the same building at 1030 W. Taylor Street until her death in 2007, but her working-class neighborhood was gone.

Dr. Ann Keating is the Dr. C. Frederick Toenniges Professor of History at North Central College. She is a co-editor of the Encyclopedia of Chicago, and author of several books on Chicago’s buildings and development.ย 


[1] Remarksย byย  Florenceย Giovangeloย Scala,โ€ Eri Hulbert Memorial Meeting, Hull House Garden, May 19, 1955, pgs. 19-20, Eri Baker Hulbert III Papers, Box 1, Folder 39

[2]Sandro Corso, โ€œFlorence Scala: A Disowned Community Leader,โ€ Italian Americana, 37, 2 (Summer 2019), 100-101; Eastwood, Near West Side Stories, 140โ€“141; and Florence Scala interview transcript, 4, Folder 69, Box 4, Hull-House Oral History Collection, Special Collections, University of Illinois at Chicago. See also โ€œMore Unpublished Reminiscences Steven Giovangelo,โ€ January 29, 2014, in possession of Rima Schultz.

[3]โ€œFlorence Scala, 47โ€ in Studs Terkel, Division Street: America (Pantheon Books, 1967), 5.

[4]Florence Scala quoted in Eastwood, Near West Side Stories, 154; NWSPB executive committee meeting, January 26, 1950, Box 39, Hull House Collection. See also Sandro Corso, โ€œFlorence Scala: A Disowned Community Leader,โ€ Italian Americana, 37, 2 (Summer 2019), 99-118.

[5]Scala in Eastman, Near West Side Stories, 154.

Democratic Ensembles: Spoken Art and Politics at Chicago Settlement Houses, 1890-1920

A group of children holding hands in a circle, playing outdoors on a dirt playground near a building with arched windows and a covered area in the background. The children are wearing old-fashioned clothes.

By Fiona Maxwell, PhD Candidate, Department of History, University of Chicago.

Four children in period costumes stand or sit around a table with bowls, while an adult woman in an apron stands beside them holding a book, possibly directing or reading to them in a staged setting.
Hull-House staffer Nicolette Malone working with actors for a dramatic performance (Hull-House Photograph Collection, University of Illinois Chicago).

In the Chicago settlement house movement, performance and sociability supplied a means and a metaphor for reimagining democracy as a collective project in service of the common welfare. My recently completed PhD dissertation, โ€œDemocratic Ensembles: Spoken Art and Politics at Chicago Settlement Houses, 1890-1920,โ€ takes self-governing settlement house clubs as a case study for exploring how Progressive Era concepts of social democracy unfolded in everyday practice. The project underscores the role of artistic collaboration in envisioning and bringing about desired political futures, and it introduces a more extensive dramatis personae to the history of Progressive reform.

Although a work of history, โ€œDemocratic Ensemblesโ€ has its origins not merely in writerly imagination and archival holdings, but in the actorโ€™s craft. I began studying at the Piven Theatre Workshop in Evanston, Illinois as a child, working my way through their performance ensembles and eventually joining the teaching staff. The Piven approach to actor trainingโ€”rooted in theatre games and story theatre adaptation, and defined by values of process, improvisation, and ensembleโ€”descends from the work of Neva Boyd and Viola Spolin at Hull-House during the 1920s and 1930s. While honing my skills as a performer and pedagogue, I kept hearing tantalizing whispers about a fabled prehistory of our approach.

A black-and-white photo of a large group of women and children gathered indoors for a community event, labeled A Neighborhood Party. Some women appear to be reading or singing from papers.
A Neighborhood Party (Hull-House Yearbook Photos, University of Illinois Chicago)

When it came time to write a BA thesis as a History and Theatre major at Northwestern University, my mind immediately gravitated to Hull-House. I determined to learn as much as I could about the working-class Chicagoans who enrolled in settlement house arts education programs to further their educations, find like-minded peers, and exercise their creative imaginations. In this early stage, my research focused on the community reception of childrenโ€™s dramatics at Hull-House, with the goal of tracing the social and cultural history of early, pre-Spolin theatre education while foregrounding the perspectives of youth participants. I immersed myself in the Hull-House Collection at the University of Illinois at Chicago, as well as a burgeoning wealth of published and online resources, including the Jane Addams Papers Project. Wading through thousands of documents, I encountered Hull-Houseโ€™s dauntless cadre of reform-minded residents, as well as countless neighbors determined to realize their individual and collective aspirations. Reluctant to return home from this time travel expedition, I realized that pursuing a PhD was in order.

My early years of graduate school at the University of Chicago coincided with an explosion of public and scholarly discourse on democracy. During the late 2010s and early 2020s, historians began to revisit late nineteenth- and early twentieth-century reformers and theoristsโ€”particularly Jane Addams and John Deweyโ€”with renewed appreciation for their idea that democracy could be strengthened by social interaction across political and cultural divides and by prioritizing group welfare over individual gain. I embarked on my dissertation research paying close attention to how settlement workers articulated their theory of social democracy. I discovered that the language they used to describe their political philosophy mirrored the language that is still in practice today in ensemble-based theatreโ€”conceptual gifts from Progressive Era politics to contemporary artistic practice. Recognizing the broader political significance of the settlement story, I expanded my earlier focus on Hull-House theatre to embrace the โ€œspoken artsโ€โ€”including storytelling, group games, dramatic reading, oratory, and debateโ€”at settlement houses across Chicago, and I moved from children to โ€œchildren plus,โ€ examining how young people refined and implemented their artistic and political agendas as they aged and tracking how childrenโ€™s involvement catalyzed the participation of adult family members. I was lucky enough to discover a surfeit of underutilized materials in settlement club archives. At settlement houses across Chicago, working-class โ€œneighborsโ€ organized self-governing clubs that left plentiful records of their daily activities, in the form of constitutions and meeting minutes, neighborhood news and club gossip, and the occasional script, poem, joke, or lyric.[1] Piecing these fragments together recasts settlement houses, not merely as gathering places for the reform-minded middle and upper classes, but as genuinely grassroots centers of community education and local organizing.

A group of children holding hands in a circle, playing outdoors on a dirt playground near a building with arched windows and a covered area in the background. The children are wearing old-fashioned clothes.
Hull-House Circle Games

In its current iteration, โ€œDemocratic Ensemblesโ€ investigates the ways in which settlement volunteers and participants used the spoken arts to bridge social boundaries and develop a collaborative approach to democratic participation. Generations of scholars have explored the ways in which Chicago settlement leaders codified neighborhood service into new academic and professional fields, claimed a role for women in federal policymaking, and contributed to pragmatist philosophy and democratic theory. This dissertation uncovers the full โ€œensemble castโ€ of Chicago Progressivism by introducing two previously unexamined settlement constituencies: student volunteers from local universities, who drew on their interdisciplinary training in the arts, humanities, and social sciences to facilitate settlement pedagogy; and, most significantly, the neighborhood families who embraced settlement programming and made it their own. It joins an interdisciplinary scholarly conversation concerning how political, social, and artistic speaking genres have generated theories and practices of democracy, and it applies analytical frameworks drawn from book history, rhetoric, and theatre and performance studies. Combining archival research, interdisciplinary methods, and process-oriented theatre pedagogy, this project constructs a social and political history of spoken arts education, which adds to scholarly inquiry in urban history, gender history, and the history of childhood and youth and offers an actionable model for current practice. The dissertation tells the story of enfranchisement through cultural experiences and, in doing so, contributes a new conception of the role of the spoken arts in civic life.

The story begins with early settlement house founders diagnosing the lack of communal gathering spaces in industrial Chicago as a threat to the viability of democratic self-governance. The early chapters explore how settlement workers adapted traditional forms of domestic sociability and artistry to create a new piece of social infrastructure that invited equal participation from men, women, and children of all classes and cultural backgrounds. To explain how and why the spoken arts achieved such primacy in settlement programming, I analyze the formative experiences of a key yet previously unexamined subset of volunteer club and class leaders: students and graduates of Northwestern Universityโ€™s Cumnock School of Oratory, who organized settlement programs with a conviction that through performance and pedagogy, they could speak a more inclusive and collaborative public sphere into being.[2]

The remaining chapters conduct an in-depth analysis of on-the-ground settlement programming, tracking the transition from arts education to political organizing from the perspectives of school-aged children, working young people, and whole families. The ability of working-class, immigrant, and Black schoolgirls and boys to engage in collective deliberation and semi-autonomous artistic production inspired settlement workers to theorize childrenโ€™s club work as an apprenticeship for civic engagement. Working adolescents and young adults, meanwhile, utilized their skills in persuasive speech and organizational leadership to assert their voices in settlement administration and local reform. Experience with shared governance and extensive training in verbal expression enabled young people to transition from planning parties and staging plays to mobilizing in service of political change.[3] The participation of adult family members solidified the civic influence of the settlement project. When settlements inaugurated all-ages, mixed-gender governing bodies, fathers and sons were compelled to recognize their wives, sisters, and daughters as effective public actors. With the advent of municipal suffrage in 1913, neighborhood families began working to extend the vision of an activist, welfare-oriented local government they had devised in settlement clubs into formal electoral channels.

The idealism that accompanied whole-family politics shattered with the declaration of war in Europe in 1914. Global warfare abroad and racial violence at home exposed the challenges of bringing club ideals and methods into the world beyond settlement doors. โ€œDemocratic Ensemblesโ€ concludes by identifying postwar trends in settlement work and gesturing towards the subsequent evolution of settlement artistic methodologies, particularly their codification and widespread dissemination by mid-twentieth-century Chicago theatre practitioners and educators. Amidst the continued struggle to bring collaborative values and social consciousness into formal politics, Chicagoansโ€™ persistent commitment to neighborhood arts programs as a force for grassroots change has emerged as one of the most hopeful legacies of the Progressive Era.

Although the dissertation phase of this project is ending, it is only the beginning for โ€œDemocratic Ensembles.โ€ In the months and years to come, I intend to transform the dissertation into a book that has crossover appeal for scholars, practitioners, and the wider public. I look forward to continuing to mine settlement archives and sharing the stories they contain in a variety of formats, from academic writing to public performance.[4] The questions posed by settlement workers and participants over a century ago remain relevant today: as we continue to work towards more inclusive and equitable futures, how can engaging in everyday acts of cultural production help to foster common understanding, celebrate diversity, and provide the framework for an ensemble-based politics?

Fiona Maxwell is a final-year PhD Candidate in History at the University of Chicago. Her research and creative practice explore the connections between spoken performance and democratic social movements, with a focus on Progressive Era Chicago. In addition to her own writing and performance activities she collaborates with museums and arts organizations on content and program development. You can reach her at fmaxwell@uchicago.edu.


[1] I detail a key facet of this archiveโ€”club newspapersโ€”in Fiona Maxwell, โ€œClub Newspapers and Civic Collaboration at Chicago Settlement Houses,โ€ย C19: The Society of Nineteenth-Century Americanists Podcast,ย Season 8, Episode 3 (October 21, 2024).ย https://on.soundcloud.com/FY7sAtBt6ePA84pZ7

[2] For an article-length study of the gender dynamics of oratorical pedagogy at the Cumnock School, see Fiona Maxwell, โ€œโ€˜Expression is powerโ€™: Gender, residual culture and political aspiration at the Cumnock School of Oratory, 1870โ€“1900,โ€ Gender & History (2024): 1-18. https://doi.org/10.1111/1468-0424.12786

[3] For an example of this process, as illustrated by the Home Culture Club of young workingwomen, see Fiona Maxwell, โ€œโ€˜Talking lowd and laughing gay, Everyone has so much to sayโ€™: Working Girlsโ€™ Clubs, Spoken Art and Political Organising at Chicago Settlement Houses, 1890โ€“1920,โ€ Lilith: A Feminist History Journal (2025): 109-130. http://doi.org/10.22459/LFHJ.30

[4] I perform original, semi-fictional storytelling pieces based on settlement archival materials at universities, public history sites, and storytelling venues. Select appearances include Open House Chicago at the Jane Addams Hull-House Museum (2024) and Chicago Storytelling in Bughouse Square at the Newberry Library (2022).

Presenting at the Chicago Women’s History Conference

Three smiling women stand indoors next to a life-size black-and-white cutout of a historical woman; two women wear name badges and one wears a shirt with a printed image. Ornate architecture is visible in the background.

Three smiling women stand indoors next to a life-size black-and-white cutout of a historical woman; two women wear name badges and one wears a shirt with a printed image. Ornate architecture is visible in the background.
Marilyn, Cathy, Jane, and Stacy at the Chicago Women’s History Conference, March 22, 2025.

The Jane Addams Papers Project represented at the Chicago Women’s History Conference this past Saturday. Cathy Moran Hajo, Stacy Lynn, and advisory board member Marilyn Fischer led a workshop devoted to the importance of Jane Addams, the digital edition, and how scholars and teachers can use it. Stacy talked about how influential Addams and the women of Hull-House were, and Cathy demonstrated the digital edition, while Marilyn discussed how she uses the digital edition to trace Addams’s word use in her three part book series about Addams as an evolutionary philosopher.

Our workshop was just one session in a day filled with really interesting work. The biggest challenge was choosing between them! And Jane Addams was everywhere! From the cardboard cutout at the Women’s International League for Peace and Freedom’s booth, to morning presentations by Sherryl Engstrom on Hull House Performs: A Description and Evaluative Study of the Performing Arts at Hull House, 1920-1937 and Fiona Maxwell on “We Women Would Rule the World of Politics”: Women’s Oratory and Activism at Chicago Settlement Houses, 1890-1920. In the afternoon, we delighted to Ann Keating and advisory board member Rima Lunin Schultz’s presentation, “Beyond the Second Wave: Working Class Women Activists and City Planning: Florence Scala and Chicago’s Near West Side.”

Keynote speaker Jamila Woods was inspiring and plenary session with Pinqy Ring and her amazing students ended with an emotional bang. What an amazing time.

 

Guest Post: A Tale of Many Cultures: Clara Landsberg’s Experiences at Hull House

Black and white portrait of a woman with dark hair pulled back, wearing a light-colored top. Above her head is a large handwritten signature that reads Clara Landsberg.

This article in its entirety was published in Volume 46, No. 3 Summer 2022 edition of Chicago Jewish History, a quarterly publication of the Chicago Jewish Historical Society and is being reprinted with the permission of the Society.

A Tale of Many Cultures:ย  Clara Landsbergโ€™s Experiences at Hull House with Eastern European Jewish Immigrants and White Anglo-Saxon Protestant Social Workers

by Cynthia Francis Gensheimer

A sepia-toned photo of Clara Landsberg as a young woman sitting on the grass, smiling and reaching toward a small white animal, with trees and bushes in the background.Clara Landsberg, a Jewish-born teacher, social worker, and pacifist, lived at Hull House in the room directly adjacent to Jane Addamsโ€™s for roughly 20 years and made significant contributions to the Chicago settlement house. However, scholars have paid scant attention to her story until now, perhaps because she never sought prominence during her lifetime.[1] While researching her connection with Bryn Mawr College as part of a larger project on early Jewish women students at the Seven Sisters schools, I have discovered that shortly after graduating in 1897, Landsberg left Judaism to become Episcopalian. Afterward, she maintained ties with her influential Jewish parents but also became a member of the nationโ€™s Protestant elite and of an international sisterhood of pacifists. Like many leading women intellectuals and social workers of her day, Landsberg lived with her lifelong partnerโ€”a womanโ€”in a predominantly female world. This article will provide an overview of Landsbergโ€™s biography, with a focus on her role at Hull House.

Clara was the daughter of a Jewish power couple: Rabbi Max Landsberg and Miriam (Isengarten) Landsberg, leading Jewish intellectuals and nationally known experts on charity administration, with 30 years of hands-on experience in helping the less fortunate in Rochester, New York.[2] Claraโ€™s parents had close working relationships with luminaries Jewish and non-Jewish, including Chicagoโ€™s Rabbi Emil G. Hirsch, Hannah Greenebaum Solomon, and Jane Addams.[3] Closer to home, Susan B. Anthony attended the Landsberg congregationโ€™s annual interfaith Thanksgiving services and, in 1892, recommended Miriam Landsberg for a statewide positionโ€”although that position was ultimately filled by Anthony herself.[4] The Landsbergs helped lead efforts for social good in Rochester with their closest friends: the Unitarian minister William Gannett and his wife, Mary T. L. Gannett. Clara Landsberg followed her parentsโ€™ example in many ways.

Clara can be taken as a case study in the difficulties that many Jewish women of her generation would have faced in attempting to achieve the Landsbergsโ€™ highest ideals. Clara graduated from the most intellectually rigorous womenโ€™s college on the East Coast and, through her partner, Margaret Hamilton, became a member of one of the countryโ€™s most elite Protestant families. Yet even after graduating from college and becoming Episcopalian, she was denied a job at a girlsโ€™ preparatory school because she was still considered Jewish. This discrimination against Jews, even those who had left the faith, was leveled against a young woman of eminent qualifications and impeccable manners. It belied her own parentsโ€™ fervent wish that Judaism should be considered only a religion, not a race, and that Jews should find full acceptance in American society.

Born in Rochester in 1873, Claraโ€”and her two younger sisters, Rose and Graceโ€”attended Miss Cruttendenโ€™s School for Girls, which offered a rigorous college preparatory curriculum, but also equipped its students for lives of simple refinement. Although their social world was predominantly Jewish, they had Christian friends as well. At Roseโ€™s confirmation, Rabbi Landsberg enjoined the teenagers coming of age in his Reform congregation to take a rational approach to religion and to determine their beliefs for themselves without feeling bound by tradition.[5] As the Landsberg children would have known, Susan B. Anthony and Mary T. L. Gannett had done exactly that by becoming Unitarians after growing up as Quakers.

A black-and-white portrait of Rabbi Max Landsberg, a bearded man in a suit, looking to the side. The caption identifies him as an esteemed clergyman from Rochester, New York.At Bryn Mawr College, Clara met her future life partner: Margaret Hamilton, daughter of an upper-class WASP family in Fort Wayne, Indiana.[6] Clara also became acquainted with Margaretโ€™s sisters: Alice Hamilton, who would later establish the field of industrial medicine, and Edith Hamilton, who would famously popularize classical Greek and Roman mythology.[7] Bryn Mawr, founded by Quakers, advertised itself as โ€œpervaded by a simple and practical Christianityโ€ and required daily chapel attendance.[8] Clara, the only Jew of the nearly 50 students in her graduating class, lived on campus and studied classical and modern languages, with a concentration in Latin and Greek.[9] After their 1897 graduation, Clara and Margaret studied abroad at the Sorbonne and the University of Munich.[10]

Around 1900, Clara Landsberg moved to Hull House, where she would room with Alice Hamilton for the next two decades.[11] By the time Clara arrived, three-quarters of Hull Houseโ€™s clientele consisted of Jews from Chicagoโ€™s Near West Side and other neighborhoods.[12] These Jewsโ€”mostly immigrants from Eastern Europeโ€”came to learn English, attend lectures and concerts, and participate in drama, music, and debate clubs.[13] Despite their apprehensions with respect to Christian proselytizing, they predominated among the 9,000 people who visited Hull House each week.[14] Clara Landsberg earned her living by teaching German and history at a local girlsโ€™ school; in her free time, she taughtโ€”and later supervisedโ€”the evening classes at Hull House.[15]

Jane Addams mentored Clara, who was initially in the unique position of being the only resident who had been born and raised Jewish. Jane Addams called her the โ€œdean of our educational departmentโ€โ€”in other words, supervisor of one of the settlementโ€™s core activities.[16] In 1908, a paragraph in the Bryn Mawr Alumnรฆ Quarterlyโ€”likely written by Clara herselfโ€”reported that she was living at Hull House to familiarize herself with the problems of immigrants living in โ€œcrowdedโ€ quarters. Rather than describing her students as Catholic or Jewish, Clara identified them by their various nationalities: โ€œItalian, Greek, Russian, Roumanian, Polish, Armenian, and German.โ€[17] She explained that they wanted to learn English not only to get good jobs, but also to โ€œstudy subjects more or less remote from their daily work for much the same reasons that induce people of more fortunate neighborhoods to study Browning, Shakespeare, Ibsen, or Bernard Shaw.โ€[18] During her early years at Hull House, Clara introduced her studentsโ€”primarily Eastern European Jewsโ€”to some of the classic works of English literature.[19] According to Jane Addams, Clara possessed โ€œan unusual powerโ€ as a knowledgeable teacher with an unassuming, quiet presence.[20] In addition, Landsberg had โ€œmany friends among the poor people of the neighborhood who are devotedly attached to her.โ€[21] Two of those friends were Hilda Satt and Morris Levinson.

Hilda Sattโ€™s life was transformed through her long association with the settlement and its residents. Hilda, who had first visited Hull House as a young teenager in 1895, later became a member of one of Clara Landsbergโ€™s reading groups. Certain her mother would disapprove, Hilda had initially declined an Irish friendโ€™s invitation to attend that yearโ€™s Hull House Christmas party. In her posthumously published autobiography, Hilda recalled her fear that she would be killed if she attended, because in Poland it had been dangerous for Jewish children to play outside on Christmas. She later wrote, โ€œThere were children and parents โ€ฆ from Russia, Poland, Italy, Germany, Ireland, England, and many other lands, but no one seemed to care where they had come from, or what religion they professed โ€ฆ I became a staunch American at this party.โ€[22]

A vintage sepia photo of Clara Landsberg in a graduation gown and cap, standing and looking slightly to her right. Handwritten text at the bottom reads Clara Landsberg, 97.In one of the first reading groups Clara conducted at Hull House, she ignited a love of English literature in Hilda, who spoke Yiddish at home and had left school after fifth grade to work days sewing shirt cuffs. In addition to the books Clara assigned, Hilda was soon reading โ€œevery book I could borrow.โ€[23] Only a few years earlier, Hildaโ€™s English vocabulary had been so limited that she did not yet know the word โ€œmushroom.โ€ During a meal at Hull House, she had been served a mushroom omelet, of which she would later recall, โ€œI was tortured with the question of whether the mushrooms were kosher.โ€[24] Soon, however, Hilda counted authors like Dickens and Louisa May Alcott among her friends. Months after meeting Hilda, Clara presented her with a Christmas gift of a copy of Elizabeth Barrett Browningโ€™s Sonnets from the Portuguese. Hilda would later recall this as her fondest memory of โ€œMiss Landsberg, โ€ฆ a fragile, ethereal, gentle woman โ€ฆ [who] opened new vistas in reading for me.โ€[25] With Clara Landsbergโ€™s help, Hilda Satt became an exemplar of the path to Americanization and upward mobility that the settlement aimed to encourage.[26]

Another of Claraโ€™s students, Morris Levinson, was, like many immigrants, eager to learn English and become an American citizen in the cultural as well as the political sense of the word. With Clara Landsberg as his mentor, he aspired to learn much more than basic skills of vocabulary, grammar, and usage.[27] Landsberg saved two letters that he wrote to her in 1905, while she was home in Rochester convalescing after a serious illness. In broken English, Morris expressed his concern that โ€œMiss Landsbergโ€ was โ€œtoo sweet, and delicate, to be confind to bed of illness [sic],โ€ reassured her that Ellen Gates Starr had taken him on as a pupil, and told her that he was studying a book she had given him to read: The Boys of 76, a collection of first-hand accounts of soldiers in the American Revolution:

I bolive I should have to know the history of this Country โ€ฆ I have resolved to read it over agan, so that I will remember everything better โ€ฆ Miss Landsberg, I bolive this history will make me a throught citesin.[28]

Morris also confided in Clara. He planned not to live solely seeking fun, โ€œas a great many of people do,โ€ but rather to โ€œtry to egicat [him]self as much as posebleโ€ in order to โ€œsee the mining of this beautiful world and of the real uman life.โ€[29] Clara was not only a teacher but a role model for Morris Levinson: someone he admired and to whom he felt a deep sense of gratitude.

Although Hilda, Morris, and Clara had all been raised in Jewish homes, their similarities ended there. Claraโ€™s highly educated, German-born parents spoke fluent English and shunned Yiddish. Like other Reform rabbis, Rabbi Landsberg jettisoned โ€œsuperstitious forms and antiquated dogmas,โ€ eliminating rituals he considered outmoded, such as Bar Mitzvah.[30] He endorsed the principles adopted by the Reform movement in its Pittsburgh Platform of 1885, but, like Rabbi Emil G. Hirsch of Chicagoโ€™s Sinai Congregation, he saw them as only the beginning rather than the end. In 1893, Rabbi Landsberg spoke in Chicago at the World Parliament of Religions, endorsing an expanded role for Jewish women in congregational life.[31]

Claraโ€™s approach to Judaism was virtually the antithesis of that of many of the Jewish immigrants at Hull House. Her father decried Orthodoxy as well as Jewish nationalism. The Jewish immigrantsโ€”familiar and comfortable only with Orthodox Judaismโ€”rejected Reform Judaism. Even those atheists, anarchists, and socialists who spurned all religion felt a connection to Yiddishkeit and Jewish peoplehood,ย concepts rejected by theย Landsbergs and most Reform Jews. Did these immigrant Jews nonetheless recognize Clara Landsberg as ethnically Jewish, or did they see her as one of many Protestant residents of Hull House? Might they have accepted her precisely because they had no idea she was Jewish?

Addams and her cohort respected religious differences and tried hard to make Hull House welcoming to all.[32] Yet Jane Addams was motivated by her Protestant faithโ€”especially by the literature and culture of social Christianity, which she described as a โ€œrenaissance of the early Christian humanitarianism โ€ฆ with a bent to express in social service and in terms of action the spirit of Christ.โ€[33] Addams has been criticized for failing to grasp that for many Eastern European Jewish immigrants, Judaism was far more than a religion. On the other hand, features of Hull House that Orthodox Jews would have found off-puttingโ€”the Chi-Rho cross Addams always wore, the Christian artwork on display, the lack of kosher foodโ€”would not have offended the most liberal Reform Jews such as Clara Landsberg or her mother, Miriam Landsberg.[34]

Portrait of a middle-aged woman with glasses, short curly hair, and a serious expression, wearing a dark dress with a lace collar and beaded embellishments. The photo appears historical and formal.Miriam Landsberg, Hannah G. Solomon, and other German Jews mirrored mainstream Americaโ€™s adulation of Addams. One of these Jewish admirers, Sara Hart, called Addams โ€œthe single, most influential citizen of my generation.โ€[35] Miriam Landsberg visited Hull House frequently and helped spearhead efforts among affluent Jews to establish a settlement in Rochester. In 1905, after spending several weeks at Hull House, she wrote: โ€œI do not wonder that any one who has ever lived at Hull House cannot bear to go back to ordinary life.โ€ She described the 21 residents (including her daughter Clara) as a โ€œfamilyโ€ composed of โ€œpeople of the finest mindsโ€ and life at Hull House as โ€œsimple, practical, โ€ฆ ideal.โ€[36]

Settlement work was popular among graduates of Bryn Mawr and similar colleges. Even so, it was not Claraโ€™s first career choice. She and Margaret had wanted to teach at the Bryn Mawr School in Baltimore, but two of the schoolโ€™s most influential trustees, Mary Garrett and M. Carey Thomas (then president of Bryn Mawr College), refused to hire her because she was Jewish.[37] In 1899, Edith Hamilton (then headmistress of the Bryn Mawr School) wrote to M. Carey Thomas to apprise her of Claraโ€™s conversion:

My sister has just written me that Miss Landsberg is about to become a member of the Episcopal church, and I have wondered whether this would make a difference in your and Miss Thomasโ€™ opinion that we could not offer her a position because she is a Jewess.[38]

Clara Landsbergโ€™s conversion made โ€œnot the least difference,โ€ either to Mary Garrett or to M. Carey Thomas, as Garrett explained in her response to Edith Hamilton:

Our objection is one of policy and very few Jews employed in schools or colleges are Jews by religion; it never had occurred to us that Miss Landsberg was really an orthodox Jew. We are wholly unwilling to connect with the school in any capacity a Jew by race, and in view of our feeling of the financial unwisdom of such a step we think that Jews ought to be ruled out of court for the future in consideration of possible appointments.[39]

Yet Clara persisted. In 1900, M. Carey Thomas wrote to Mary Garrett saying, โ€œThe Jews enrage me. Is nothing in the world settled? Have Miss Landsberg & the Jews to come up perpetually. It is awfully bad policy.โ€[40]

Clara remained at Hull House until 1920, when a Quaker organization sponsored her to travel to Vienna to perform postwar humanitarian relief work. Two letters of recommendation finally qualified her as a WASP and (therefore) fit to represent the U.S. abroad. Jane Addams provided a ringing endorsement, and Mary T. L. Gannett was careful to specify: โ€œAs a matter of information, Miss Landsberg, during her college course joined the Episcopal Church โ€“ and as far as I know is still a loyal member of that Communion.โ€[41]

When Addams and her partner, Mary Rozet Smith, learned that Clara Landsberg had been accepted to the Quaker program, they both wrote letters of congratulation and farewell. Addams wrote, โ€œI canโ€™t bear to think of H.H. [Hull-House] next winter without either Alice [Hamilton] or yourself.โ€[42] Mary Rozet Smith wrote: โ€œโ€ฆ no words will express โ€ฆ [our] sense of desolation โ€ฆ when we think of the year without you. โ€ฆ J.A. and I have decided that it is like losing a mother and a child at once. โ€ฆ With Alice in Boston and you in Vienna what will Hull-House be! It is too depressing to face.โ€[43]

Did Max and Miriam Landsberg know that their daughter was no longer Jewish? In the 1899 letter announcing Clara Landsbergโ€™s conversion, Edith Hamilton had written, โ€œUnder the circumstances her family would prefer her not to be at home.โ€[44] Yet there is no proof that Claraโ€™s parents did learn of her conversion. To all appearances, she maintained a positive relationship with her mother and father throughout their lives. In his final instructions to his children, Max Landsberg wrote, โ€œ[M]y life has been one of uniform happiness. The only serious trouble in my whole life has been the loss of my dear wife, your good mother.โ€[45]

As tolerant as Miriam was toward other beliefs, however, it is likely she would have cared deeply that Clara had left Judaism. At a national conference, as chair of the National Council of Jewish Womenโ€™s Committee on Religion, she worried that many German Jews were โ€œgiven over entirely to materialism and indifference to all Jewish affairs.โ€ She warned Jewish mothers that children raised without religion could โ€œfall prey to โ€ฆ pious sharks โ€ฆ eager for souls.โ€[46] A few years later, she implored mothers to transmit a love of Judaism to their children โ€œto preserve to our posterity that Judaism which gave Religion to the world.โ€[47] Despite Miriamโ€™s fears, it is doubtful her daughter would have fallen prey to โ€œpious sharks.โ€ Rather, through exposure to Christianity at school and through her closest friends and role models, Clara rejected the most modern version of Judaism, one carefully crafted by her own parents, in favor of the Episcopal Church, which her father had criticized for what he saw as its strict adherence to ritual and creed.[48]

Part Two of this article will discuss Clara Landsbergโ€™s becoming godmother to Jane Addamsโ€™ grandniece, Claraโ€™s travels with Addams, and Claraโ€™s own work as a pacifist, which was deeply informed by her connection with Addams. It will also document her retaining ties to her birth family, even as she joined the Hamilton family as well. And it will describe Landsbergโ€™s trip to Germany with Alice Hamilton just after Hitler had come to power. In a letter to herself documenting the onset of the Holocaust, Landsberg would write, โ€œI am a Jewess.โ€

Our thanks to Cynthia Francis Gensheimer and the Chicago Jewish History for allowing us to share this article with you.


[1] Even one of Clara Landsbergโ€™s fellow residents, Francis Hackett, seemingly forgot her surname: โ€œMiss Clara, of Bryn Mawr vintage, valiant, tense, souffrante, at once impatient and remorseful, indefatigable and worn-out.โ€ Francis Hackett, โ€œHull-House: A Souvenir,โ€ 100 Years at Hull-House, eds. Mary Lynn McCree Bryan and Allen F. Davis (Bloomington: Indiana University Press, 1969), 69.

[2] Max Landsberg, born in Berlin in 1845, was a rabbiโ€™s son and a protรฉgรฉ of Abraham Geiger. American Jewish Year Book 1903โ€“1904, 72; http://www.ajcarchives.org/AJC_DATA/Files/1903_1904_3_SpecialArticles.pdf. When Miriam Landsberg, who was born in Hanover in 1847, died, the American Israelite called her death a โ€œloss to American Jewry.โ€ American Israelite, April 25, 1912. Peter Eisenstadt, Affirming the Covenant: A History of Temple Bโ€™rith Kodesh, Rochester, New York, 1848โ€“1998 (Rochester: Temple Bโ€™rith Kodesh, 1999), ch. 2 and 3; Stuart E. Rosenberg, The Jewish Community in Rochester, 1843โ€“1925 (New York: Columbia University Press, 1954). At a 1910 meeting of the National Conference of Jewish Charities, during Miriam Landsbergโ€™s term as vice-president, Jane Addams gave the opening address, and Rabbi Landsberg served as delegate representing the Jewish Orphan Asylum of Western New York, which he had co-founded and led for decades. Sixth Biennial Session of the National Conference of Jewish Charities in the United States Held in the City of St. Louis, May 17th to 19th, 1910 (Baltimore: Kohn & Pollock, 1910). American Israelite, February 5, 1914, 3. Rabbi Landsberg was elected president of the New York State Conference on Charities and Correction in 1910, when Miriam Landsberg was the outgoing vice-president. โ€œConference of Charities Holds Three Busy Sessions,โ€ Democrat and Chronicle, November 17, 1910, 17.

[3] As chair of the Committee on Religion of the National Council of Jewish Women, Miriam Landsberg worked closely with Hannah G. Solomon, the organizationโ€™s founder. Susan B. Anthony wrote to Miriam Landsberg giving instructions for a meeting of the National Council of Women in Washington, D.C. and letting her know that Hannah G. Solomon and Sadie American had already arrived. Susan B. Anthony to Miriam Landsberg, February 12, 1899, University of Rochester Archives. After Hannah G. Solomonโ€™s daughter, Helen, visited the Landsbergs in 1902, Rabbi Landsberg wrote to Hannah telling her what a โ€œgreat treatโ€ it had been to have her visit: โ€œHelen reminds me so much of you, although she looks more like the best husband on earth.โ€ He signed the letter, โ€œWith love for your husband and all the sisters within your reach.โ€ Max Landsberg to Hannah G. Solomon, April 2, 1902. Helen Solomon Wellesley Correspondence, Hannah G. Solomon Family Collection, MC 749, American Jewish Archives. For the working relationship among Rabbi Hirsch, Hannah G. Solomon, and Jane Addams, see Rina Lunin Schultz, โ€œStriving for Fellowship: Sinaiโ€™s Rabbi Emil G. Hirsch and Hull-Houseโ€™s Jane Addams, A Not-So-Odd Couple,โ€ unpublished manuscript, February 24, 2015.

[4] Ida Husted Harper, The Life and Work of Susan B. Anthony (Indianapolis: Bowen-Merrill, 1898), 2:730. In 1891, Susan B. Anthony, Rabbi Landsberg, and Rev. William C. Gannett spoke at the annual Thanksgiving service. โ€œThe Benefits of Unrest,โ€ Democrat and Chronicle, November 27, 1891, 6.

[5] โ€œRochester, N.Y.,โ€ American Israelite, June 20, 1889, 2.

[6] For background on Bryn Mawr College, see Helen Lefkowitz Horowitz, Alma Mater: Design and Experience in the Womenโ€™s Colleges from Their Nineteenth-Century Beginnings to the 1930s (New York: Alfred A. Knopf, 1984) and Horowitz, The Power and Passion of M. Carey Thomas (New York: Alfred A. Knopf, 1994).

[7] For a significant biographical work on the nature of Clara Landsbergโ€™s relationship with Margaret Hamilton, as well as Edithโ€™s connection to Bryn Mawr College and the Bryn Mawr School, see Judith P. Hallett, โ€œEdith Hamilton,โ€ The Classical World ย 90, nos. 2/3, Six Women Classicists (November 1996โ€“February 1997): 107โ€“147.

[8] Bryn Mawr College Program 1892 (Philadelphia: Sherman & Co., 1892), 77.

[9] Clara Landsbergโ€™s student transcript, Bryn Mawr College Archives. Religious affiliations researched by the author.

[10] Clara Landsbergโ€™s alumna record, Bryn Mawr College Archives. Sandra L. Singer,ย Adventures Abroad: North American Women at German-speaking Universities, 1868โ€“1915 (Westport, Connecticut: Praeger Publishers, 2003), 75, 212.

[11] Presumably by the time that Clara Landsberg moved to Hull-House, she had become a member of the Episcopal church, but evidence surrounding the conversion is scanty, and that surrounding the exact dates of Clara Landsbergโ€™s tenure at Hull-House is contradictory. For Alice Hamiltonโ€™s experience at Hull-House, see Alice Hamilton, Exploring the Dangerous Trades (Fairfax, Virginia: American Industrial Hygiene Association, 1995), ch. 4 and 5; Barbara Sicherman, Alice Hamilton: A Life in Letters (Cambridge, Massachusetts: Harvard University Press, 1984), 3โ€“4, 5, 115โ€“136, 139โ€“141, 144โ€“152, 182, 244. Both Hamiltonโ€™s and Sichermanโ€™s books are valuable resources that contain references to Clara Landsberg throughout.

[12] Hannah G. Solomon, introducing Jane Addams as a speaker at a national convention of the National Council of Jewish Women. โ€œGeneral Council of Hebrew Women Meets,โ€ The Washington Times, December 3, 1902, 2.

[13] Philip Davis, โ€œEducational Influences,โ€ in The Russian Jew in the United States, ed. Charles S. Bernheimer (Philadelphia, Pennsylvania: The John C. Winston Co., 1905), 217.

[14] Hull-House was not the only center serving immigrant Jews in its neighborhood. German Jews in Chicago organized their own institutions, and in fact Jane Addams mediated between the German and eastern European Jews when the Jewish-run Maxwell Street settlement was established a few blocks from Hull-House. The first organizational meeting, held at Hull-House in 1892, nearly disbanded due to the terrible arguing between the immigrants and the German Jews who convened the meeting. In an essay titled โ€œA Resented Philanthropy,โ€ one of the immigrants at the meeting later credited Addams with reestablishing civility. He said, โ€œThe โ€˜cultureโ€™ which was to emanate from the settlement and permeate all corners of the Ghetto was conspicuously absent from the heated discussion of the โ€˜enlightenedโ€™ benefactors.โ€ In 1907, 150 people visited Hull-House weekly to lecture, teach, or supervise clubs. For Hull-Houseโ€™s purpose, the names of its residents, and its weekly attendance, see Hull-House Year Book 1907, 5โ€“6 (Archive.org, https://archive.org/details/hullhouseyearboo1906hull/page/38/mode/2up?q=jewish).

[15] Claraโ€™s work evolved over time. She worked full-time at Hull-House for one year, but, finding that too difficult, she eventually taught at the University School for Girls (Miss Haireโ€™s). Alice Hamilton to Agnes Hamilton, [mid-June? 1902], in Sicherman, Alice Hamilton, 142โ€“143. Clara Landsbergโ€™s alumna record, Bryn Mawr College.

[16] Jane Addams, Twenty Years at Hull-House (New York: Macmillan, 1912), 437 (A Celebration of Women Writers, ed. Mary Mark Ockerbloom, https://digital.library.upenn.edu/women/addams/hullhouse/hullhouse.html).

[17] Italians came to predominate during Claraโ€™s second decade. In 1902, the Chicago Tribune reported on a โ€œHebrew invasionโ€ in the โ€œcrowded west side districtโ€: โ€œAs soon as a Jewish family gets a foothold in a tenement other occupants vacate.โ€ โ€œRaces Shift Like Sand,โ€ย Chicago Tribune,ย September 26,ย 1902, 13.

[18] Bryn Mawr Alumnรฆ Quarterly Vol. 1โ€“2 1907โ€“1909 (Bryn Mawr, PA: Bryn Mawr Alumnรฆ Association, 1907โ€“1909) (https://core.ac.uk/download/pdf/214021114.pdf).

[19] Francis Hackett wrote in his memoir: โ€œRussian Jews and Jewesses came in great numbers to the classes at Hull House, and had special leanings toward literatureโ€ (72). Some English classes were composed entirely of Jews. Philip Davis, โ€œIntellectual Influences,โ€ in The Russian Jew in the United States, ed. Charles S. Bernheimer (Philadelphia, Pennsylvania: The John C. Winston Co., 1905), 217.

[20] Jane Addams to Anita McCormick Blaine, June 29, 1901, Anita McCormick Blaine Correspondence and Papers, 1828โ€“1958, Wisconsin Historical Society (Jane Addams Papers Project, https://digital.janeaddams.ramapo.edu/items/show/1015).

[21] Jane Addams, American Friendsโ€™ Service Committee (AFSC) letter of recommendation for Clara Landsberg, May 1, 1920. AFSC Archives.

[22] Hilda Satt Polacheck, I Came a Stranger: The Story of a Hull-House Girl (Urbana: University of Illinois Press, 1991), 51โ€“52, 66.

[23] Polacheck, I Came a Stranger, 66.

[24] Polacheck, I Came a Stranger, 66.

[25] Polacheck, I Came a Stranger, 66โ€“67.

[26] In 1905, Hilda Satt took over supervision of the evening classes in Claraโ€™s absence. In 1906โ€“07, she taught beginnersโ€™ English at Hull-House. Jane Addams to Clara Landsberg, July 4, 1905, Clara Landsberg Papers, University of Illinois at Chicago Library (Jane Addams Papers Project, https://digital.janeaddams.ramapo.edu/items/show/840); Hull-House Year Book 1906โ€“1907, 8.

[27] Addams noted the frequency with which young Jewish men who had patronized Hull-House also graduated from high school with help from their parents and then managed on their own to go on to college. Twenty Years at Hull-House, 346.

[28] Morris Levinson to Clara Landsberg, May 26, 1905, Additional Papers of the Hamilton Family, 1850โ€“1994, box 13, 83-M175-94-M77, Schlesinger Library. Levinsonโ€™s letters are quoted as written, without corrections as to spelling, grammar, or usage.

[29] Morris Levinson to Clara Landsberg, n/d, Additional Papers of the Hamilton Family, 1850โ€“1994, box 13, 83-M175-94-M77, Schlesinger Library.

[30] โ€œDr. Landsbergโ€™s Closing Lecture,โ€ Jewish Tidings, March 30, 1888, 19.

[31] Max Landsberg, โ€œThe Position of Woman Among the Jews,โ€ World Parliament of Religions, Chicago, Illinois, 1893 (GoogleBooks, https://books.google.com/books?id=q2U-AAAAYAAJ&pg=PA241&dq=%22max+landsberg%22+%22The+Position+of+Woman+among+the+Jews%22&hl=en&sa=X&ved=0ahUKEwi-3aifgMLPAhUk_4MKHRbLCOIQ6AEIIDAA#v=onepage&q=%22max%20landsberg%22%20%22The%20Position%20of%20Woman%20among%20the%20Jews%22&f=false). When virtually no other rabbi in America would perform an interfaith marriage, both Hirsch and Landsberg did so. Rosenberg, The Jewish Community in Rochester, 93โ€“94. Tobias Brinkmann, Sundays at Sinai (Chicago, Illinois: University of Chicago Press, 2012), 136.

[32] In Twenty Years at Hull-House, Addams explained that over time, she and the other residents abandoned Protestant evening prayer, and their demographic composition at least in part reflected the make-up of the neighborhood, including Catholics and Jews, โ€œdissenters and a few agnostics.โ€ Addams, Twenty Years at Hull-House, 448โ€“449. Rivka Shpak Lissak has claimed that although many traditional Jews avoided Hull-House, it โ€œhad a closer relationship with the marginal Jewish elements, the assimilationists and the radicals.โ€ Lissak, Pluralism and Progressives: Hull House and the New Immigrants, 1890โ€“1919 (Chicago, Illinois: University of Chicago Press, 1989), 80.

[33] Rima Lunin Schultz wrote: โ€œFor Addams, who affixed a Chi-Rho Cross to her bodice, her work at Hull-House was religious; yet by establishing her settlement as an independent association without ties to any religious organization, university, or other agency, and by not requiring religious worship or religious education, she set out to spread a Christian humanism that she envisioned as cosmopolitan and democratic, inclusive and tolerant. Did this mean that she resolved to exclude religious ideas from Hull-House? I would argue that this has been an area of misunderstanding about Addamsโ€™s intentions.โ€ Rina Lunin Schultz, โ€œJane Addams, Apotheosis of Social Christianity,โ€ Church History 84, no. 1 (March 2015): 207.

[34] Many eastern European Jewish immigrants were strongly attached to Jewish culture and Zionism, even as they lost their connection to Jewish worship. Jane Addams wanted children of immigrants to respect their parents, yet she also saw that many old customs and religious traditions made no sense to the younger generation and in some cases held them back. Addams, Twenty Years at Hull-House, 247โ€“248; Rivka Shpak Lissak, Pluralism and Progressives, 80โ€“94. In contrast, on a family trip to Germany when Clara was ten years old, the Landsbergs had appreciated the aesthetic value of medieval Christian architecture such as the Hildesheim cathedral. Clara Landsberg, โ€œLeaves from my Diary,โ€ 1887, 1โ€“4, Additional Papers of the Hamilton Family, 1850โ€“1994, 83-M175-94-M77, box 13, folder 81, Schlesinger Library.

[35] Sara Hart wrote of Jane Addams, โ€œIt was my pleasure to know her intimately for more than thirty years.โ€ Sara L. Hart, The Pleasure is Mine: An Autobiography (Chicago, Illinois: Valentine-Newman, 1947), 82. Hannah G. Solomon considered Jane Addams a leader of โ€œall humanityโ€ andย  โ€œthe greatest woman of our century.โ€ Jane Addams inspired Jewish women at the NCJWโ€™s third biennial in 1902, which Solomon attended as president and Miriam Landsberg as vice-president (Hannah G. Solomon, โ€œCouncil Welfare Work Forty Years Ago and Today,โ€ 4, n/d, Hannah G. Solomon Collection, Library of Congress, box 11, folder 5).

[36] โ€œSings Praises of Hull House,โ€ Democrat and Chronicle, March 17, 1905, 10.

[37] To understand Mary Elizabeth Garrett and the early history of Bryn Mawr School, see Kathleen Waters Sander, Mary Elizabeth Garrett: Society and Philanthropy in the Gilded Age (Baltimore: Johns Hopkins Press, 2008).

[38] Edith Hamilton to Mary Garrett, April 18, 1899, Bryn Mawr College Archives, Papers of M. Carey Thomas, reel 214.

[39] I am indebted to Helen Lefkowitz Horowitz, who cites this letter and gives a good overview of M. Carey Thomasโ€™s antisemitism in M. Carey Thomas, 230โ€“32, 267, 486. Mary Garrett to Edith Hamilton, April 24, 1899, Bryn Mawr College Archives, Papers of M. Carey Thomas, reel 214.

[40] M. Carey Thomas to Mary Garrett, September 26, 1900, Bryn Mawr College Archives, Papers of M. Carey Thomas, reel 23, nos. 37โ€“39.

[41] Mary T. L. Gannett, letter of recommendation, May 4, 1920, Clara Landsbergโ€™s personnel file, AFSC Archives.

[42] Jane Addams to Clara Landsberg, August 7, 1920, Hamilton Family Collection, 84-M210, box 1, folder 7, Schlesinger Library. Alice Hamilton had just been appointed the first woman professor at Harvardโ€™s School of Medicine.

[43] Mary Rozet Smith to Clara Landsberg, August 7, 1920, Hamilton Family Collection, 84-M210, box 1, folder 7, Schlesinger Library.

[44] Edith Hamilton to Mary Garrett, April 18, 1899.

[45] Max Landsberg to his children, January 16, 1918, Max Landsberg SC 6602, American Jewish Archives.

[46] โ€œThe Councilโ€™s Report on โ€˜Religion,โ€™ โ€ The Reform Advocate, March 24, 1900, 167 (The National Library of Israel, https://www.nli.org.il/en/newspapers/?a=d&d=refadv19000324-01.1.11&e=——-en-20–1–img-txIN%7ctxTI-%22miriam+landsberg%22————-1).

[47] Miriam Landsberg, โ€œReport of Committee on Religion,โ€ The Reform Advocate, January 3, 1903, 452 (The National Library of Israel, https://www.nli.org.il/en/newspapers/refadv/1903/01/03/01/article/29/?srpos=12&e=——190-en-20–1–img-txIN%7ctxTI-landsberg+committee+on+religion————-1).

[48] Max Landsberg criticized Episcopalians for requiring members to โ€œbelieve in the forty-nine articles of faithโ€ and Presbyterians for the Westminster catechism. โ€œWhat is Judaism?โ€ Democrat and Chronicle, November 22, 1899, 11. The Hamilton sisters, whose family Clara Landsberg joined, had been reared in the Presbyterian congregation founded by their grandfather, but, as children, they preferred the small Episcopal church on Mackinac Island, where they spent their summers. For a thorough discussion of the Hamilton sistersโ€™ religious upbringing, see The Education of Alice Hamilton, eds. Matthew C. Ringenberg, William C. Ringenberg, and Joseph D. Brain (Bloomington: Indiana University Press, 2019), esp. 13โ€“14, 23โ€“24. For a discussion of religion among the residents of Hull-House, see Eleanor J. Stebner, The Women of Hull House: A Study in Spirituality, Vocation, and Friendship (Albany: State University of New York Press, 1997).

 

ย 

Saint Jane and the Wicked Wicks –An Audio Musical

A sepia-toned image of a woman looking down is overlaid with the title Saint Jane and the Wicked Wicks, a Ferris wheel, and text about a new musical play set in 1890s Chicago by Kristin Lems.

A sepia-toned image of a woman looking down is overlaid with the title Saint Jane and the Wicked Wicks, a Ferris wheel, and text about a new musical play set in 1890s Chicago by Kristin Lems.Exciting news! On Thursday, August 26 at 8 pm CST, Saint Jane and the Wicked Wicks, an audio musicalย  written and composed by Evanston playwright Kristin Lems, will open to the public at theย  website www.SaintJanePlay.com. The two-hour musical play, which can be enjoyed in oneย  sitting or in four separate installments, is free, asking for a voluntary donation with a suggestedย  sliding scale. After the site goes live, listeners may attend the show any time on demand.

Saint Jane and the Wicked Wicks is set in Chicago in the decade of the 1893 Worldโ€™sย  Fair. It is about the friendship between Hull House founder Jane Addams and Nellie Wicks,ย  Kristinโ€™s great grandmother, in the years 1890-1905, during the early years of Hull House.

Prize-winning Chicago dramatist Douglas Post is the director, with musical direction byย  Diana Lawrence and mixing and editing by Dan Dietrich. Piano arrangements and performances were created by Tom Cortese of Champaign, Illinois.

The cast consists of well-known area actors and singers, including Kathy Cowan as Janeย  Addams, Rebecca Keeshin as Nellie Wicks, Monica Szaflik as Ellen Gates Starr, Maddie Sachsย  as Julia Lathrop, Patrick Byrnes as George Wicks and John Dewey, Frankie Leo Bennett as Geneย  Wicks, John B. Leen as Jim Wicks and Sol Friedman, Kingsley Day as Richard Crane, andย  Therese Harrold as Addie Wicks. The professional, non-equity cast was auditioned and selectedย  in December 2020 and recorded in the early months of 2021.

The โ€œaudio musicalโ€ is a new genre. The singer-actors rehearse their parts together onย  zoom, but record and upload them individually to a single destination without being in aย  recording studio. Then, the scenes and songs are reviewed, mixed, and edited by the director andย  recording engineer. The final product is similar to an audiobook or radio play, but there are alsoย  songs, in this case, 17 original songs including โ€œThe Hull House Rag,โ€ โ€œStraight to Hell inย Chicago,โ€ and other memorable numbers. The new genre enables artists to release entertainingย  musical theatre work while keeping both performers and audience safe.

The musical will open on Womenโ€™s Equality Day, August 26, to celebrate the 101st anniversary of American women winning the right to vote. Jane Addams was active in theย  suffrage movement 10 years after the time of the play, along with many activist women of Hullย  House. Two key organizers, Ellen Gates Starr and Julia Lathrop, are characters with key roles inย  the show.

Kristin Lems has won many accolades as a writer, composer, and performing artist, butย  this is her first full-length musical. Lems was inspired by stories about the unusual friendship between the two women, told by her mother, musician Carol Lems-Dworkin (1924-2019), andย  along with primary materials, including a handwritten diary by Nellie Wicks, two full lengthย  unpublished novels written by Nellieโ€™s eldest daughters, recorded oral histories, and anย  autographed picture given to Nellie by Jane Addams shortly before Addams died. Lems alsoย  researched Jane Addams, Hull House, and Chicago history with a 2017 sabbatical from herย  employer, National Louis University, where she is a professor.

Many other outstanding talents helped design the trailer, iconic poster, website, videoย  product, and script, and many people deserve thanks and praise for moving this ambitious project forward to this day. For information about the cast, members of the pre-production, production,ย  or post-production team, or to contact Kristin Lems, please email saintjane2021@gmail.com.

Segregation At Hull-House: A Closer Look

A group of twelve boys of diverse backgrounds, some shirtless, sit and stand closely together in a room with wooden walls, smiling and posing for the camera.

In June, Addams biographer and Project Advisory Board member Lucy Knight got in touch with a query regarding a claim that Hull-House was a segregated space until the 1930s. The claim first made by Thomas Lee Philpott in his 1978 work: The Slum and the Ghetto: Housing Reform and Neighborhood Work in Chicago, 1880-1930.ย  Itย  was repeated by Khalil Gibran Muhammed’s Condemnation of Blackness (2010), and then repeated by me in a 2015 blog post reporting on Khalil Muhammed’s talk at Ramapo College. Lucy wanted to know more, because the claim had begun appearing all over the web. Since then she has gathered evidence that refutes the statement.

I wrote that blog post a few weeks after launching the project at Ramapo and did not question the statement. I probably should have, but assumed that given the time and the place it was likely true. Today I want to give the question a little more light and attention.

There is no smoking gun document — one in which a policy of segregation was clearly established. Without that it can be extremely difficult to prove whether or not African-Americans were welcome at Hull-House or in its programs and sponsored clubs. A majority of the records of Hull-House have not survived, which makes it unlikely that we will ever be able to definitively confirm or debunk the statement.

There are a couple of layers to the question. First, was Hull-House itself a segregated space? To that question, the answer is clear. It was not.ย  Dr. Harriet Alleyne Rice (1866-1958), a Black physician and graduate of Wellesley College, started working at Hull House as early asย  1893, working with the Hull-House branch of the Chicago Bureau of Charities and tending to the poor.

Addams invited Black speakers to Hull-House, including prominent figures such as W. E. B. Du Bois, who gave the speech “The Souls of Black Folk” at Hull-House on Lincoln’s birthday 1907 (Hull-House Year Book, 1906-1907). A year earlier, Atlanta newspaperman J. Max Barber spoke about the Atlanta race riot to a Hull House “audience mostly composed of negroes.” (Chicago Tribune, October 8, 190-6,. p. 3).ย  Addams invitedย  Ida B. Wells to visit and dine at Hull-House. And in 1912, Addams hosted a meeting of the interracial National Association for the Advancement of Colored People on the Hull-House grounds.

A large group of men and women, many wearing hats and formal attire, gathered outdoors between brick buildings at the Fourth Annual Conference of the NAACP in Chicago, 1912. A sign below lists notable participants.
Hull-House hosted a reception for the delegates of the NAACP meeting in Chicago on April 30, 1912.

A more complicated question was whether Hull-House’s clubs and groups welcomed people of all races. Few if any spaces in Chicago were integrated during Jane Addams’s life.ย  By 1910, the vast majority of African-Americans lived in Chicago’s South Side in what was known as the “Black Belt.” They formed their own organizations to empower their communities, much as other ethnic and religious groups did. African-Americans who came to Chicago during the Great Migration found opportunity, but also oppression.

Hull-House was located in the Near West Side, a overcrowded community that featured a wide range of European immigrants. The area was filled with ever changing languages and customs as Irish, German, Czech, and French immigrants were replaced by Jews from Russia and Poland, Italians and Greeks. In 1895, Hull-House workers surveyed the area showing the cultural (if not racial) diversity. It was not until the 1930s and 1940s that African-Americans and Mexican became a more significant presence in Hull-House’s neighborhood.

A detailed, color-coded map of Chicago blocks from Polk to Twelfth and Halsted to Jefferson, showing the distribution of various nationalities in 1895 through colored rectangles representing individual buildings.
Nationalities Map of Polk Street to 12th Street in the Near West Side (Hull House Maps and Papers, 1895).

As a neighborhood-based settlement, Hull-House represented its surroundings, which meant that in its early years, the majority of its clientele were white immigrants. Photographs of early activities show this clearly.

A vintage black-and-white photo shows a group of young children in old-fashioned clothing and hats standing outdoors, with an adult woman behind them and buildings visible in the background.
A group of toddlers outside Hull-House in the 1890s. At this point the neighborhood was predominately comprised of Southern and Eastern European immigrants. (Seven Settlement Houses — Database of Photos, University of Illinois at Chicago)

Many of clubs and associations that operated out of Hull House were developed around ethnic affiliations, which was a way to retain community and customs in a time of rapid change and Americanization. The range of clubs at Hull-House was vast, and the numbers of people in and out of the Hull-House grounds reached nine thousand per week between 1906 and 1916. The clubs and associations were organized and operated by their members, some, like the “Greek Olympic Athletic Club,” were made up of Greek immigrants interested in athletics; others like the Hull-House Electrical Club, was made up of men who worked in electrical occupations. There were Greek and Russian social clubs, a 19th Ward Socialist Club, and the Jane Club, which was a co-operative boarding club for young women that operated its own house with thirty bedrooms. There were also general Men and Women’s Clubs, Boys and Girls’ Clubs, and educational programs in art, practical employment skills, and English language classes.

I find it unlikely that many of these clubs or programs were multi-racial in the first decades of Hull-House’s existence. Among the photographs of Hull-House activities located in archives at the University of Illinois at Chicago, photos from before 1920 depict what appear to be white groups.

A large group of children and a few adults pose for a photo on a city sidewalk in front of a brick building, with some children sitting on the curb and others standing behind them.
This photograph, dated only “ca. 1920s” by Wallace Kirkland, shows a group of neighborhood children preparing to leave for the Bowen Country Club. (Hull-House Photograph Collection,University of Illinois at Chicago)

There is some evidence of Black participation in clubs and groups at Hull-House before the 1930s.ย  In 1913, the Chicago Defender wrote an obituary of George Williams, “the only Negro boy connected with Hull House as a member. He was a member of the band and took part in all the active branches of the settlement. Miss Jane Addams praised him to the highest. The day of his funeral the full band was out and his casket was borne by three Italians and one Jewish boy.” (Chicago Defender, September 20, 1913.)

An African-American women’s club was formed at Hull-House in 1925, first called “The Colored Mothers’ Club,” and later the “Community Club.” They met on Monday evenings and held monthly interracial meetings which the Chicago Defender characterized as “not only harmonious and satisfactory, but very helpful.”

A group of Black women in dresses pose in front of a bus labeled โ€œWillett Motor Coach Companyโ€ in a grassy outdoor setting, with vintage cars and trees visible in the background.
This photo from around 1927 depicts the Hull House Community Club, composed of African-American women. (Hull-House Photograph Collection, University of Illinois, Chicago).

The Defender continued:

In and around Hull House a large number of the foreign population moved into other neighborhoods, and their places have been taken up by our group. The residents of the famous social settlement are still living up to their ideals of helping the people in the neighborhood to adjust themselves, and our boys and girls are urged to join all of the classes, and with their elders are cordially invited to take part in all the activities of the place. (Chicago Defender, December 11, 1926, p. 5.)

But, does this one newspaper article tell the whole story?ย By 1937, the Defender characterized the Community Club as the medium through which Hull-House worked among the African-American community. The club was affiliated with the National Federation of Colored Women and its focus was on bettering conditions for African-Americans in their community. (Chicago Defender, September 25, 1937, p. 19.) Did Hull-House push African-American activity off to the side into one or two clubs? Did African-Americans feel welcome in the late 1930s when they walked into the settlement?

Dewey Jones, the Assistant Director of Hull-House in 1938 reported during a 1939 speech that one long-time member of the Community Club had complained that its members were not invited to take part in general community events. In 1941 a caption on a photograph depicting Black women at the Jane Addams Memorial Lilac Ball on May 24, 1941 noted that “Director Charlotte Carr insisted that African Americans be invited to the Ball.” The fact that Carr’s action was noted, makes it appear that it was not the norm.

Four people sit in a row of chairs watching a dance, while two couples dance nearby. The setting appears to be a formal event with women in dresses and men in suits. Some seats in the background are empty.
The Jane Addams Memorial Lilac Ball was held May 24, 1941 at the Stevens Hotel in Chicago. (Hull-House Photograph Collection, University of Illinois, Chicago).

Florenceย  Scala (1918-2007), an Italian-American resident of the West Sideย  and a volunteer at Hull-House from 1934 to 1954, recalled that though the Near West Side had a great mix of ethnic groups, โ€œthere were no blacks, blacks were not active in the Hull-House programs when I was going there.โ€ (Carolyn Eastwood, Near West Side Stories: Struggles for Community in Chicagoโ€™s Maxwell Street Neighborhood (2002), p. 139.)

By the 1930s and especially by the early 1940s, photographs of Hull-House activities show the changing composition of the neighborhood.ย  There were Mexican fiestas, and pottery classes, and photographs of integrated children’s activities at the Joseph T. Bowen Country Club.

A Mexican fiesta was held atย  Hull-House on June 13, 1941 for the purpose of bettering relationships between Mexicans and American in s the Chicago area. (Chicago Tribune, June 8,. 1941, p. 41. Hull-House Association Photograph Collection, University of Illinois, Chicago).

A group of twelve boys of diverse backgrounds, some shirtless, sit and stand closely together in a room with wooden walls, smiling and posing for the camera.
Boys at the Bowen Country Club camp run by Hull-House, ca. 1946. (Hull-House Photograph Collection, University of Illinois, Chicago).

A group of children in winter clothing stand in a hallway, some holding hands, accompanied by a few adults. The children appear to be waiting or lined up near a doorway.
Photos like these, with no clear date, save the “1920s-1930s” offer evidence of Black families participating in Hull-House programming, but not enough detail.ย  (Hull-House Photograph Collection, University of Illinois, Chicago).

So we are left with conflicting recollections and reporting. Did Florence Skala have a very different experience at Hull-House than the children who attended the Bowen camp in the 1940s? Were the adult activities more racially divided, broken into clubs that kept to their own kind? Without additional documentation, it is hard to make a determination that includes all the voices we have.

We can close with a look at what African-American reporters said at the death of Jane Addams in 1935.ย  In an obituary written of Addams in 1935, Thyra Edwards of the Pittsburgh Courier focused on Addams and Hull-House with regard to race.

Jane Addams had no ‘attitude’ toward the Negro. To her he was just one of the citizenship, one part of the whole. She recognized that the distinction of color exposed him more easily to attack and discrimination at the same time, adding a moral responsibility upon Americans to work against extraordinary exploitation because of color.

When Negroes moved into Hull House, there was no ‘consultant’ as to whether they should be accepted and in what proportions. Quite simply, new neighbors had come to Hull House and they found their way into whatever classes or groups they chose. (Pittsburgh Courier, June 1, 1935, p. 9.)

Another tribute to Addams was published in the Chicago Defender, where Eugene Kinckle Jones remarked:

Jane Addams made no special effort to lead the Negro to the Promised Land but by no act or thought did she eliminate this race from the classes or groups most in need.’ At Hull House, they had no set place but they were eliminated from no place. In her condemnation of crime, she condemned lynching. In her belief in the extension of suffrage to all, she included the Negro in her ‘all.’ (Chicago Defender, June 29, 1935, p. 3.)


Thanks to Louise Knight for her research into the question which she graciously provided.

The Otherworldly Orbit of Jane Addams

A black-and-white photo shows a large group of men and women seated at tables in a formal dining room, engaged in conversation and eating, with ornate light fixtures overhead and wood-paneled walls.

I grew up in Illinois where the life and legacy of Jane Addams is widely known and appreciated. Illinois School children learn about Addams and Hull-House, and she is a perennial favorite topic of their book reports, term papers, and history fair essays and display boards. As a historian of Illinois history in the early years of my work, I came to know and appreciate Jane Addams at a deeper level, too, understanding better her contributions to social reform, her lobbying for protective legislation for workers, her modern arguments for woman suffrage, her importance as a philosopher, and her unwavering advocacy of world peace, even when it threatened to harm all she had built at Hull-House.

Yet the more I study the ways in which Jane Addams supported, nurtured, and inspired the women around her, and the ways in which she drew on the spirits, intellects, and achievements of those women, the more convinced I am that Jane Addams created and existed in an otherworldly orbit. An orbit where innovation and creativity and fearless determination flourished. An orbit which attracted women of myriad backgrounds and life workโ€”educators, business women, artists, social scientists, doctors, writers, and lawyers, as well as social workers and reformers. An orbit which drew in some of the most talented and inspirational women of the era. An orbit that energized and empowered young women to find their talent and become inspirational leaders in their chosen fields and disciplines.

It was this otherworldly orbit of women that was Jane Addamsโ€™s super power.

A large group of men and women sit around several long tables in a dimly lit dining hall, engaged in conversation while eating a meal. The room has wooden walls, arched windows, and hanging light fixtures.
Hull-House Dining Hall; Jane Addams head of table at the far left, surveying her orbit.

Hull-House was a social settlement offering important educational and cultural programming for immigrants and working-class people. It was a place dedicated to social, economic, and political change to benefit all people in a society reeling from the excesses and inequalities of American industry and politics. Hull-House was also a remarkable planet of women, full of purpose and promise. And Jane Addams was the gravity that held these women together, bolstering their courage and making them so much greater than the sum of the individuals who at some point in their lives called the settlement on Halsted Street their home. Jane Addams dedicated her life to making the 19th Ward, Chicago, her state of Illinois, the United States, and the world better places to live. That work and dedication set her apart. But I believe, this orbit of women that Jane Addams created at Hull-House was what made her truly extraordinary.

One of my greatest privileges of editing the papers of Jane Addams is daily introduction to the fascinating women in Jane Addamsโ€™s orbit. Although it is only a qualitative observation, I assert that few (if any) other institutions in American history so beautifully nourished more women to do so much good in the world than did Hull-House. I suspect this inspirational characteristic of Hull-House was in part due to Addamsโ€™s feminine, motherly or sisterly guidance of her juniors and her peers, as well as the more generous hearts of women in collaborate work. But I would also argue it was the brilliance of Jane Addams to understand that women of all backgrounds had something to offer to the narrative of reform and possessed voices worthy of projection. It was the brilliance of Jane Addams to create an atmosphere of open-minded curiosity and respectful discourse for women. It was the brilliance of Jane Addams to fill up that atmosphere with as many bright and shining female voices she could find and who could find their own way to her and to Hull-House, as well.

It would be hard to overstate the significance of the long list of extraordinary women connected with Hull-House and Jane Addams. Many of those women, like Florence Kelley, Julia Lathrop, and Dr. Alice Hamilton were well-known in their lifetimes and remembered by history today. One scholar likened some of those women to โ€œstarsโ€ in a constellation around Jane Addams. I prefer to think of those female โ€œstarsโ€ as existing in an otherworldly orbit with Jane Addams and with a breathtaking list of incredible women that history has largely forgotten. As a tribute to my joy in discovering the women in Jane Addamsโ€™s orbit and to amplify, like she did, the voices of the lessor known, I am going to offer a series of blog posts about some of the women you may not know who found their way to Hull-House and became a part of the wide influence of the settlement in the world far beyond Halsted Street.

**********

On Oct. 21, 1902, Jane Addams penned this letter:

My dear Miss Monroe
ย  ย  ย The twenty [minutes] will be perfectly convenient for us and affairs have so adjusted themselves that the little room now vacant may be yours so long as you care to keep it. The word little however is used advisedlyโ€”perhaps it would be better for you to see it before you decide on your belongings.
ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย Faithfully yours
ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย  ย Jane Addams

The letter was to Harriet Monroe, a 41-year-old poet from Chicago. Monroe, who became a Hull-House resident for a brief time, delivered a public lecture about Milton on Dec. 3, 1902, at the settlement. She became a Hull-House teacher, offering an advanced class on English poetry and establishing a reading club at the settlement. Monroe was born and raised in Chicago, where her father was a successful lawyer before the Chicago Fire, after which his financial situation deteriorated. From a young age, Monroe developed a love of literature by exploring her fatherโ€™s library. Although her family was not Catholic, she was educated at the Georgetown Visitation Convent in Washington, DC.ย  In the 1880s, she lived in New York City, from where she wrote articles on the arts for the Chicago Tribune, before returning to her hometown in 1889.

In 1902, when she arrived at Hull-House, Monroe was not a well-known poet, not a household name, nor a novelist, as she had reported her occupation to the census taker in 1900. She struggled to make a literary name for herself,ย  An older woman with short, wavy hair and glasses sits outdoors on a bench, wearing a dark dress and layered necklaces. She looks slightly past the camera with a calm expression. Large wooden planters are in the background.although she had published a few poems and penned a special verse, โ€œThe Columbian Odeโ€ to open the Worldโ€™s Columbian Exposition in Chicago in 1893. Poor health and failure to attain critical acclaim for her literary work frustrated her, but she kept writing and developed a widening circle of literary friends, which would come to include Robert Louis Stevenson, Eugene Field, Richard Watson Gilder, and Vachel Lindsay. In the years after her time at Hull-House, Monroe supported herself as a journalist, writing more than 200 articles for the Chicago Tribune, mostly on the arts, and she published sporadic freelance pieces in popular publications like Atlantic Monthly and Century Magazine. It was a meager existence, but Monroe remained committed to writing, bemoaned modern American societyโ€™s general disinterest in poetry, and began to articulate the need for poetry in American cultural life.

As was typical with most Hull-House residents who came and went, Monroe maintained her connection to the settlement and to Jane Addams years after her departure. She was a frequent guest at the settlement, made donations and offered gifts, and in 1905 wrote โ€œThe Trollโ€™s Holiday,โ€ an operetta set to music by Hull-House music teacher Eleanor Smith and performed at the Hull-House Music School. Over the years, the letters between Addams and Monroe reflect a respectful, friendly relationship infused with admiration and staunch support for one anotherโ€™s work. In 1908, Addams wrote Monroe about her poetry: โ€œIt seems to me very remarkable, to be able to express the subtler side of the background of life as youโ€ฆโ€ In 1910, Monroe praised Addamsโ€™s latest book, The Spirit of Youth and the City Streets: โ€œIt seems to me profoundly thought out and beautifully done; thought and done with fine intelligence and exquisite sympathy. Surely it will have a far-reaching affect.โ€

Women supporting women was the foundational characteristic of the orbit Jane Addams cultivated, and that super power of hers became the super power of other women, too. To be in Jane Addamsโ€™s orbit was to remain there, to want to stay close to the spirit of the woman, to feel the pull of the supportive energy of Hull-House, no matter the time or the distance. To have experienced Jane Addamsโ€™s orbit was to wish to create your own orbit of inclusion and support and purpose beyond the self.

I suspect Harriet Monroe either learned at Hull-House the lesson of going beyond yourself and connecting your talents to others, or while there she practiced the lesson which was already in her own heart. Because ultimately, Harriet Monroeโ€™s greatest contribution was not her own poetry but rather her Cover of Poetry: A Magazine of Verse, Vol. 1, No. 1, featuring a decorative border, a lion illustration, title text, contents list, publication details, and the date October 1912 in red at the bottom.fierce support of the art form and the poetry of others. At the age of 52, Monroe conceived of the idea to create an American journal of poetry, to seek out great poets and good work, and promote that work in the pages of a popular magazine. In October 1912, Monroe published the first issue of Poetry: A Magazine of Verse. When she launched the magazine, Monroe sent Jane Addams a complimentary subscription. Addams would not have it, however, writing in reply: โ€œI am not in the least willing to have my name stand on an honorary list. Please let me send the enclosed and assure you that I have seldom subscribed to a magazine with more pleasure.โ€

Poetry was an immediate critical and popular success. For the remainder of her life, Monroe edited the magazine, raising American interest in poetry and launching the careers of many of Americaโ€™s greatest poets, like Robert Frost and T. S. Eliot. Eighty-four years after Monroeโ€™s death in 1936, Poetry magazine is still in publication, still a venue for new poets, still a vehicle for a great American art form. Hull-House and Jane Addams may or may not have directly inspired Monroeโ€™s direction in life. I dare not give either the credit for Monroeโ€™s brilliant vision and stunning contribution to modern American poetry. But in reading more and more stories of the lives of people who were in the orbit of the woman and the settlement, even for very short periods of time, one cannot dismiss the excellence of that orbit, either in what it may have inspired or the inspirational figures it drew into its remarkable sphere of influence.

Stacy Lynn, Associate Editor

Sources: Eleanor J. Stebner, The Women of Hull House: A Study in Spirituality, Vocation, and Friendship (Albany: State University of New York Press, 1997); Rima Lunin Schultz and Adele Hast, eds., Women Building Chicago, 1790-1990: A Biographical Dictionary (Bloomington: Indiana University Press, 2001), 598-600; โ€œMonroe, Harriet,โ€ American National Biography; 1900 U.S. Federal Census; Hull-House Bulletin, 5 (Semi-Annual, 1902, no. 2), 3-10, passim, Jane Addams Papers, Microfilm Edition (JAPM), 53:1156-63, passim; Hull-House Bulletin, 7 (1905-1906), 18, JAPM, 53:1231; Jane Addams to Harriet Monroe, October 21, 1902; Jane Addams to Harriet Monroe, May 13, 1905; Jane Addams to Harriet Monroe, June 27, 1905; Jane Addams to Harriet Monroe, May 23, 1908; Harriet Monroe to Jane Addams, January 31, 1910; Jane Addams to Harriet Monroe, December 2. 1912; all in Jane Addams Digital Edition. Images courtesy of Poetry Magazine, the Poetry Foundation, and Richard J. Daley Library Special Collections and University Archives at the University of Chicago. Click this link to explore the correspondence between Jane Addams and Harriet Monroe.

Democratizing the Arts and Crafts Movement: Jane Addams and Hull-House as A Lever for Social reform

A sepia-toned portrait of a woman with short hair, gazing thoughtfully at the camera, her hand resting under her chin. She wears dark clothing and appears pensive against a plain background.
A sepia-toned portrait of a woman with short hair, gazing thoughtfully at the camera, her hand resting under her chin. She wears dark clothing and appears pensive against a plain background.
Jane Addams by Eva Watson Schutze,

Jane Addams was one of the most well-known and influential women reformers of the late nineteenth and early twentieth centuries. She founded the Hull-House, a social settlement that became a leader in the new field of social work; she won the Nobel Prize for Peace in 1931 redeeming her reputation which had been attacked because of her pacifism during World War I; and she was a prominent suffragist representing politically organized women nationwide . She advised presidents Theodore Roosevelt, William Howard Taft, Woodrow Wilson, Herbert Hoover and Franklin Delano Roosevelt.  As a writer of ten books and co-author of two more, hundreds of magazine and journal articles, as a lecturer and campaigner, what Addams said about democracy, the labor question, and international affairs had weight. One of the less known contributions of Addams, however, is in the field of cultural work. And that is our subject today. When we urge friendship and inclusion of newcomers to the American shores, when we valorize the contributions of diverse cultural backgrounds and admire traditional crafts, when we speak about making the motto: “one out of many” a fact of life, when we campaign for art and music in our public schools, we are validating the ideas and cultural pedagogy of Addams and her colleagues at Hull-House.

Today I want to tell you something about the history of Hull-House from 1889 to 1935, a settlement house located on Chicago’s Near West Side, a dense, industrial neighborhood populated by immigrant workers.  Our focus is on the role of arts and crafts.  Many of you will have an image of the Lower East Side of New York —as a congested tenement and sweatshop neighborhood filled with newly arrived immigrants. Hull-House was in Chicago’s “port of entry” neighborhood where immigrants found cheap accommodations having arrived at the railroad depots nearby. These photos make the point that Addams made when she thought that housing reform would be easier in Chicago than in New York, where tenements were taller and denser.

Historic black-and-white photo showing people walking on a snowy city street, with several buildings in the background, including the Hull-House settlement and a saloon. Likely taken in 1909 during winter.
Black-and-white photo of people outside an Italian pharmacy and drugstore on a street corner, with signs for cigars and newspapers. Early 1900s urban setting with surrounding buildings and a man sitting on a bench.

Settlement houses were community centers unlike charities or welfare bureaus.  They were run by educated middle-to-upper-middle-class women and men who believed they could attack the worst aspects of industrialism and the chaos and ugliness of slum neighborhoods by bringing culture to the people in these neighborhoods.

The movement grew in American cities where by 1911 there were 400 settlement houses.  By developing friendships with their neighbors, offering art and music classes, lectures and exhibitions they would lift up the masses” and inspire an awakening that would have political and social transformative power. Soon Hull-House became a laboratory for teacher training, offered medical clinics, pioneered community and little theatre productions and became a think-tank initiating sociological and public health research projects. It lent its influence for the suffrage movement, to campaigns to outlaw child labor, and to efforts at mediating disputes between labor and capital.  

Overall, the cultural programs remained the constant and most all-engrossing of the settlement’s offerings.  Specifically, arts and crafts were made accessible to the neighborhood and the initial impulse of bringing art to the people turned into  a much more complicated exchange where the people’s art and the canonical European heritage of art were brought together. A sign of this effort to re-think cultural production in an industrial democracy heavily influenced by the different traditions of its immigrants is the event that occurred in 1904 at the Annual arts and crafts exhibition held at the Art Institute of Chicago. It may well have gone unnoticed by many who visited the Art Institute.  It may have had greater effect back in the neighborhood from whence the exhibited object derived: it was the inclusion into a prestigious exhibition of the work of highly trained artisans worldwide of a textile designed and handmade on a traditional loom by an Irish immigrant who came to Hull-House’s weaving room to practice her craft. This was noted quite simply in the show’s catalogue that listed Mrs. Brosnahan as the creator of a textile on display.

Left: A large room with several spinning wheels and chairs. Right: An older woman in period clothing using a spinning wheel in front of a brick fireplace.

Honora Brosnahan was a housewife in the neighborhood; she frequently displayed her skill in Irish spinning to visitors from among the neighbors and others from far and wide who flocked to the settlement house on Saturday evenings where in the workrooms they encountered neighborhood people, often dressed in the clothing of their native lands, performing ancient crafts.[1]

They might hear a lecture on the history of the techniqueโ€”spinning, weaving, woodworking–or the history of the materials used. There might be accompanying music –folk or classic that spoke to the plight of workers such as “The Sweat-shop Song” composed by Eleanor Smith, head of the settlement’s Music School; and on the workshop walls there would be additional displays of handicrafts, tools, and even reproductions of genre paintings by European masters depicting artisans. at work or farmers in the fields chosen by Enella Benedict, artist-in-residence and head of the Art School at Hull-House.  

For Addams it must have been a satisfying moment to enter Mrs. Brosnahan’s textile into the exhibit, a moment that she could relish as a realization of a major goal of the settlement. She had managed to create cultural space in which an immigrant woman’s skills were affirmed in her adopted homeland; her craft was valorized and included in a serious exhibition in the major museum of the Middle West. Her children and neighbors could see her valued in this downtown context as well as in the neighborhood space thereby knitting together the generations that had been upheaved by transplantation. This quiet cultural event spoke volumes and was key to Addams’s prescription for the social healing she believed was necessary for the growth of a new social ethic and a new respect for difference, for history, and for progress and the interconnectedness of humanity. This was happening at a time when fear of the stranger, the rise of race theories and the rhetoric of a nativist politics of exclusion was spreading in the land. 

 At Hull-House, the major settlement in the U. S. and the first to open in Chicago, two groups developed and interacted through art:

The first group was the colony of American-born and privileged women and men led by Jane Addams and Ellen Gates Starrโ€”college friends. They had visited Toynbee Hall, the first social experiment of its kind, in the East London slum and in their minds their desires to find ethically useful work, to share culture with those less fortunate, and to live democratically among the people cohered in the example of the Oxford college men who had joined Canon Samuel Barnett and his wife Henrietta to work among London’s most disadvantaged.

Jane and Ellen decided they would use the former’s inheritance and the latter’s Chicago social and cultural connectionsโ€”and open an American version of the English Toynbee Hall. The two young women were a sensation in Chicago, heralded by the city’s cultural and philanthropic elites and in less than five years of existence, Hull-House was on the list of attractions visitors to the Columbian Exposition in 1893 were told to view.  Englishman William T. Steadโ€”maverick journalist, moralist, and critic of industrialization famously wrote at the conclusion of the World’s Fair, that If Christ Came to Chicago (in a book by that title)โ€”he would be most comfortable in the colony of humanitarians that had gathered at Hull-House to live among the poorest and most oppressed.[2]

Two black-and-white portraits: left, Jane Addams in 1889 with hair tied back; right, Ellen Gates Starr circa 1889 with curly hair, both wearing high-collared dresses. Text identifies them as Hull-House founders.

This brings us to the second group at Hull-House: The second group were the neighbors, in the beginning those Irish and German immigrant families already English-speaking, then Italians, Jews, and Greeks.  Among them were Honora Brosnahan, Michael Gamboney, Jose Torres, and Nick Fosco and many others —– The two groups interacted and learned from each other in many positive ways.  Yet the urban planning goals of transforming the neighborhood never materialized. However, the settlement “ideal” of a democratic cosmopolitanism and neighborliness represented best through the arts and cultural work succeeded in reaching many neighbors. As one Hull-House “boy,” now grown-up put it: “Hull-House showed us another way of living.” Jane Addams, in one of her more critical reflections, thought she had reached mostly “the transfigured few” not the masses.[3]

Three black-and-white photos: a teacher guides a child at pottery, a man shapes clay at a pottery wheel, and another man focuses on sculpting clay, each captioned with their journey in the Hull-House Art School.
Left: A woman holding bundles of garments stands outside a building. Right: An elderly woman sits in a chair indoors, surrounded by framed photos and art on the wall.

In a larger sense there were other successes. One of the major accomplishments is the acceptance of the importance of the arts in public schools, the acknowledgement that children need creative play and exposure to art, music, performanceโ€”and not just the children of the privileged in society, but those from all neighborhoods, all cultures, all economic classes. These ideas that we take for granted today, even when we fail to fully fulfill them, have become the measure of a compassionate, humane society. In addition, and equally important, the narrative told by Jane Addams in her writings, which are still in print and read, interpret the immigration story in a positive light and we learn how important immigrant’s cultural contributions have been to the American culture. Scholars have identified Addams and Hull-House with significant innovations of our educational institutions, our ideas about child development, art and occupational therapy, recreational therapy, criminology, and the field of social work.

Art and Labor

Chicago noticed the transformation of the interior space of the old Hull homestead where Jane and Ellen were launching their settlement house. Allen B. Pond, of Pond & Pond Architects, had aided the two women in locating the once-stately building as an ample place to begin their cultural work.  His pen and ink drawing is one of the earliest images we have and shows the initial two-story additional building, known as the Butler Building, that Pond designed. The interior images illustrate the influences of Ruskin and Morris, and others we associate with the movement that argued for a moral aesthetic accessible to the working classes. T. C. Horsfall’s experiments with loaning art reproductions to the working classes of Manchester, England, would be tried here at Hull-House.

Four black-and-white photos of Hull-House interiors: a nursery with children, a parlor with a piano, a library, and a reception area, with descriptive text on the right side.

Allen Pond recognized kindred spirits in Addams and Starr. He remained their faithful architect for the twelve additional buildings of the settlement complex and he served as a trustee of the Hull-House Association until his death. It goes without saying that he is one of the Chicago Arts and Crafts Society.

Two men in suits stand side by side in an old black-and-white photo. They are indoors with framed pictures on the wall behind them. Both look at the camera, with one slightly blurred.

At the same time that the two women enticed Edward Butler, wealthy businessman, art collector, and a trustee of the Art Institute of Chicago, to donate $5,000 for the construction of  the new building architect Pond was planning to adjoin the old settlement house for  art exhibits, art studios, and a library, the colony of Hull-House residents had gotten deeply involved in the anti-sweatshop movement in Illinois. A cross-class campaign had been mounted when sensational articles exposed sweatshop conditions where women and children were working. There were demands for legislation to clean up the horrible tenement workshops and impose an 8-hour workday for women workers. Labor leaders, socialists, clubwomen, and religious leaders found in Addams, Starr, and a new Hull-House resident, Florence Kelley, inspiration and organization. This seemed to thrust the group far from the cultural evenings in which Ellen Starr read George Eliot’s Romola or lectured on art history or the work of the Chicago Public School Art Society of which she was President.

Watercolor rendering of early Hull-House and Butler Art Gallery, circa 1890. Street scene with people walking and horse-drawn carriage. Buildings have detailed architecture and fencing.

Starr asks rhetorically in her contribution to the settlement’s first publication, Hull-House Maps & Papers, (and I paraphrase here) is it ethical and practical to launch an expensive art gallery building in the midst of this struggle for survival among the garment workers in the neighborhood?  She argues that there is a connection between the two movements, what later union women would sing out poetically in the phrase “give us bread and give us roses”—and that a society that has no justice for workers has no foundation to produce authentic art.

Black-and-white photo of an art gallery room with sculptures, paintings, wooden chairs, and a table at Hull-House Settlement, circa 1895.

From the beginning Starr and Addams determined to involve themselves in the art and the politics of social change. This dual approach was possible because of the dedication of the group of cultural workers who joined them, some living and working at Hull-House for four decades. In this manner, Addams and Starr were constructing a non-elitist, differently gendered version of the artist in her or his studio. One example is Artist Enella Benedict, wealthy daughter of a manufacturer and real estate developer, had studied in Europe and taught at the art school of the Art Institute of Chicago. She chose to run an art school in the settlement and paint in a studio she shared with aspiring artists who lived in the neighborhood. She remained with Addams until her death, also teaching from time to time at the Art Institute, but deeply imbedded in the collaborative cultural work of the settlement where she designed and painted theater scenery and tableaux vivants that depicted classical Western religious art themes. She received no salary. Of course she could escape for vacations to the New England coast or Europe. But her paintings reflected the pull of the immigrant neighborhood she called her own. Two slides show paintings done by Benedict: one, the portrait of “Edith” a local Irish Catholic girl; and the misty pastel-like line of workers waiting.

Black-and-white photo of a woman with glasses reading a book, wearing a light blouse. Next to her is an Art School Hull House Chicago logo and text: Enella Benedict, head of the Art School.
Left: A painted portrait of a woman in a yellow dress. Right: A black-and-white photo of an art studio, easels, chairs, and artwork, including a portrait in progress matching the painting.

Addams and Starr were joined by artists, musicians, craftspeople, radicals and socialists who foresaw a soulless society with the deskilling of craft workers and the alienation of the masses into wage slaves. These bright, engaged women and men were disciples of John Ruskin, William Morris; some were Christian Socialists, others were influenced by Marx and Engels. From the start they performed a cultural pedagogy heavily tied to ideas of the trans-Atlantic arts and crafts movement.  It is surprising that it took them eight years to launch the Chicago Society of Arts and Crafts in 1897, for from the start cultural work was at the very center of the enterprise.

The society’s aims were wide ranging: cultivating in its members and others a sense of beauty, encouraging beauty in articles produced for everyday use, influencing the manual-training movement and the design and decoration of both useful and ornamental objects, encouraging handicrafts, studying factory conditions with a view to reducing the dominance of the machine, and holding exhibits and founding centers for crafts activities.  The society sponsored lectures on topics such as art education, the Arts and Crafts movement, the role of art in society, and specific crafts and held an annual exhibit, usually in November. Perhaps the society’s best-known lecturer was member Frank Lloyd Wright, who spoke March 6, 1901, on “Art and the Machine,” concluding that art was needed to give a soul to the machine.  Charles Ashbee was prescient in seeing Chicago’s unique approach to arts and crafts in the acceptance of the machine and the attempt to humanize the product and the production so that worker and consumer would benefit rather than suffer from technology.

Membership in the society included wealthy businessmen Edward B. Butler and William R. Hutchinsonโ€”both trustees of the Art Institute of Chicago as well as trustees of the Hull-House settlement. Allen B. Pond with his brother Irving, participated in that cross-over between aesthetic and social reform that characterized the Chicago society’s approach. Frank Hazen [Hazenplug] was a staff artist at Stone & Kimball who designed for both the Chapbook and the Hull House shops. He also worked with the Hull-House Theater and taught metalwork. He later headed the metalwork at the Byrdcliffe Arts and Crafts Colony in Woodstock, New York. Byrdcliffe had a strong connection to the Hull-House arts and crafts group.[4] Artist Carl Eric Lindin, born in Sweden, [5] emigrated to Chicago and studied painting at the Art Institute and in Paris, became a resident artist at Hull-House where he met the Photo-secessonist photographer Eva Watson-Schutze and the Byrdcliffe, artists and craftsmen who overlapped with many of the Hull House group.[6] George Herbert Twose of Hull-House, was an Englishman who taught manual training in the public schools and woodworking at the Hull House shops, and was the first president of the Society.[7]

Black-and-white sketch of a seated woman in profile, holding a small child. The woman wears a headscarf, and both figures are rendered in soft, gentle lines, evoking a sense of care and contemplation.

Strongly influenced by the arts and crafts movement, the New England artist Jessie Luther began her crafts career as director of the Labor Museum at Hull House, Chicago, at the invitation of Addams.[8]  Adeline Titsworth worked in the Labor Museum and taught weaving classes.[9]

With the help of Eleanor Smith, the founder and director of the Hull-House Music School, Myrtle French, founder and director of the Hull-House Kilns, Edith de Nancrede, director of children’s drama and dance, and Laura Dainty Pelham, director of the Hull-House Players, one of the first Little Theatre Groups in the country,ย  and Enella Benedict, head of the Art Schoolย  at the settlement Addams and Starrย  experimented and evolved cultural pedagogies. They did so with the goal of developing a democratic and cosmopolitan ethos that unified cultural, religious, and socio-economic differences. I mention these women because it was no coincidence that the Hull-House model of cultural production was gendered differently from the membership and leadership of the Chicago Society of Arts and Crafts, which was from the start overwhelmingly male.ย  The goals of the Chicago Society of Arts and Crafts and the departments of the settlement overlapped. Perhaps it was the marginalization of women in the arts that drove the Hull-House women to establish innovative institutional structures from which to launch themselves in order to be “eligible” in the eyes of the male custodians of culture to lead the society.

A sepia-toned painting shows a line of men in hats and coats waiting outside a building in an urban setting, conveying a somber mood of economic hardship.

Forty years later, Hull-House itself had been transformed into a place of production—a pottery and ceramics business employing the Mexicans now living in the neighborhood. The dishware provided the model for the commercially successful and popular Fiesta dinnerware.[10]  Industrial shops and workrooms, a school that taught textile weaving; dressmaking; a printing press, and with the infusion of New Deal monies, expanded studios and workshops teaching arts and crafts and industrial vocations. The machine was a reality but Hull-House attempted to contextualize its usage visually and performatively in the unique Labor Museum. This evolution reflects Addams’s and Starr’s goal of democratizing arts and craftsโ€”an evolution that can be expressed as a transformation of the concept of bringing art to the people to the implementation of creating cultural space where the people had a direct role as cultural workers for themselves.

From 1895 until 1900, when the Labor Museum was opened, there was a progression toward creating space at Hull-House for neighborhood people to work in industrial shops and at handicrafts while the colony of resident artists also flourished.[11] This was the heyday of the Chicago Arts and Crafts Society at Hull-House. The society’s aims were wide ranging: cultivating in its members and others a sense of beauty, encouraging beauty in articles produced for everyday use, influencing the manual-training movement and the design and decoration of both useful and ornamental objects, encouraging handicrafts, studying factory conditions with a view to reducing the dominance of the machine, and holding exhibits and founding centers for crafts activities.ย 

The society sponsored lectures on topics such as art education, the Arts and Crafts movement, the role of art in society, and specific crafts and held an annual exhibit, usually in November. Perhaps the society’s best-known lecturer was member Frank Lloyd Wright, who spoke March 6, 1901, on “Art and the Machine,” concluding that art was needed to give a soul to the machine.  Charles Ashbee was prescient in seeing Chicago’s unique approach to arts and crafts in the acceptance of the machine and the attempt to humanize the product and the production so that worker and consumer would benefit rather than suffer from technology.

Searching for a Way to Democratize Arts and Crafts

Jane Addams and Ellen Starr were never satisfied with the programs Hull-House had established in the humanities, the fine, arts, and the performing arts. The major goal was to democratize culture as a necessary stage in the evolution of society. This meant devising ways to transmit quality humanities education outside of universities to the working people in their neighborhoods and to the public schools.[12]

Black-and-white sketch of a workshop corner with a stove, shelves of books, framed art, and various tools. Caption describes it as Ellen Gates Starrโ€™s book bindery at Hull-House Labor Museum, around 1902.

Ellen Gates Starrโ€™s evolving pursuits in the labor movement and in the shops modeled this conception more than any of the other resident artists. She was also the resident who experienced the most inner turmoil and conflict over the relationship of art and labor. Initially Starr followed the arts and crafts movement closely. She began bookbinding “with the goal of unifying mental and manual labor and contributing in some small way to the beauty of objects” and in pursuit of this goal she spent a total of 15 monthsโ€”12 in 1897 and 3 in 1899โ€”at Doves Bindery in England, where she was one of the few American women to apprentice with T. J. Cobden-Sanderson.”[13]

Ellen Starr was a discordant voice from the start. She did not agree completely with the direction that Hull-House settlement was taking. It seemed Starr almost immediately felt the contradictions that Addams later alluded to when she wrote “how difficult it . . . [was] to put a fringe of art on the end of a day spent in a factory.”[14] Ironically, the contradictions were to become most obvious to Starr in the way her own work in the Labor Museumโ€™s book bindery seemed at times irrelevant to her actual labor union activities and socialist politics. She rationalized that her work provided opportunity, albeit limited, to illustrate products of unalienated work and that in her bindery she was demonstrating work done in the โ€œโ€™spirit of the futureโ€™โ€”that is, in a spirit allowing for self-expression.โ€ [15] In 1892, Starr had accused Hull-House of being merely “an excuse for the things we ought to do and be and don’t and aren’t.”[16] She worried about the contradictions of offering bourgeois culture to workers but not sharing power with them. “If we don’t wish working people to stand upon the same ground with us, if we believe that there is an eternal distinction, if we believe in caste, no matter how we disguise it, then why shouldn’t we let them alone? Why insult people by saying to them, ‘you are different, you will be different always, you can never be as we, knowing false and true, beautiful and ugly, but we wish to be kind to you, we want you to enjoy in your poor capacity, what you are capable of enjoying, and so we come and give you this and this.'”[17]

Four black-and-white photos: Ellen Starrs campaign card; Starr at a desk being booked by Chicago Police; Starr working in a bindery; Mary Kelly, her apprentice, also in the bindery.

Starr’s 1895 contribution, “Art and Labor,” discussed earlier, was anti-capitalist and anti-modernist in tone.  Starr had warned that it was not enough to fight for wages, you had also to fight for the soul of man against the commercial and industrial world that was crushing him. She was uncomfortable with an elitist argument that an educated and cultivated class should guide the tastes of the uncultivated but succumbed to such an arrangement. The Chicago Public School Art Society, born out of Starrโ€™s determination to bring objects of beauty into all the places she could, was a top-down organization that assumed the role of arbiter of taste and disseminator of bourgeois art. The activities in the Labor Museum, the arrangement of artifacts, and the interpretation of the presentations were controlled by Hull-House residents and staff.

Two black-and-white photos show old workshop rooms with wooden beams, chairs, and worktables, displaying equipment and tools. Caption reads: The Labor Museum and Industrial Shops.

Starr’s own complicated feelings about her loyalties surfaced as she began to feel a closer relationship to the working class and to those bright, ambitious young men and women who were attempting to better themselves. One of the great differences between Addams and Starr was that of their class positions. Issues of financial dependence had plagued Starr from her college days when she was able to complete only one year while Addams remained to finish college. Starr taught school and dreamt of more ambitious plans living on her own in the big city of Chicago.  Jane always had the upper hand as a young woman of wealth and superior rank. The imbalance and dependency between them was understood by both women.โ€[18]

Addams drifted toward institution-building, an interest not shared by Starr whose bindery room seemed to offer scant comfort but, rather, felt incomplete as she imagined a socialist cooperative workshop buzzing with activity. Starrโ€™s frustrations with teaching bookbinding and with the slow progress made in advancing the overall cultural and economic interests of the working class were further exacerbated by her basic disagreement with Addams about the need for revolutionary change in the social system. For Starr, nothing short of a religiously-inspired radical conversion to communitarian or socialist values would address the deep injustices caused by capitalism. Like her hero, William Morris, Starr married her own artistic expression and belief in socialism only to find that the contradictions were too dramatic.  Expensive materials and long yearsโ€™ training achieved great art at a cost beyond the means of workers. Ultimately, Starr was only able to train a handful of students in the craft[19] and the cultural world inhabited by artists and artisans in which she traveled and in which she exhibited her decorative and expensive rare books was becoming increasingly more remote from the picket lines she also inhabited in support of striking garment workers and waitresses.[20] 

A collage shows people spinning and weaving in a textile room with various traditional machines. The central photo is a large workshop; surrounding images show individuals using spinning wheels and looms.

Starrโ€™s discomfort with the contradictions that were expressed in the way the settlement movement developed did not cause her to break with Addams, or to give up fine art book binding or even change her ideas about cultural pedagogy.[21] As historian Suellen Hoy informs us “Until she closed her bindery in the 1920s, Starr earned a good part of her living by binding and ornamenting books.” [22]

At the same time her radicalism was becoming more public. On March 6, 1914, at age fifty-five, Starr was arrested and brought to trial on a charge of disorderly conduct stemming from her behavior on the picket line at a waitresses’ strike in Chicago.[23] She had shouted at the police, who she believed had unjustly arrested three waitresses on picket duty, “I am a citizen and as such protest this arrest.”  The crowd became excited and it was reported that they shouted: “Kill the police.”  After eight hoursโ€™ deliberation, a jury found her innocent.[24]

Starrโ€™s plunge into a deeper and more catholic devotional life that served to pull her out of recurring emotional depressions, was also an expression of her lifelong search for fellowship and salvation.[25] In contrast to Addams, Starr was searching for something close to a sacramental community, a version of “social holiness” beyond “personal holiness” that would also reconcile her individuality as an artist with her desire to identify with workers.[26] Shortly after the Garment Workers’ Strike in 1910 Starr had joined the Socialist Party, and fit in with the Marxist, hard-line, predominantly immigrant organization. Although middle-class social workers were discouraged from joining, by 1915 Starr was serving on the Cook County Socialist Party’s executive committee.[27]

She did this even while deepening her commitment to Christianity. For Starr, her labor union radicalism seemed to draw her more deeply into her faith, or perhaps, the arduous task of standing up for the workers against the wealthy and powerful could only be endured by her through the strength of her religious convictions. It was her vision of the implementation of the social gospel here on earth that continued to inspire and sustain her as much as the realities of oppressive conditions stirred her rebellion. She ran unsuccessfully for alderman of the Nineteenth Ward as a socialist in 1916.

Jane Addams and Industrial Education: Contextualizing Factory Work and Elevating Craft at the Labor Museum

Starr remained conflicted about the craftsman ideal and attempts at cultural expression by working people in the top-down and controlled atmosphere of Hull-House and moved further into the trenches of class warfare. Addams moved toward institutionalizing cultural production and the settlement ideal of social amelioration as the answer to industrial conflict. She identified this as much more than the conflict between labor and capital in the workplace. Addams saw the disintegration of traditional family life, especially among immigrants, as intergenerational conflict exacerbated by the too-early employment of children and adolescents, and further negatively impacted by the attractions of popular culture. The museumโ€™s workrooms and classes became models she used in advocating industrial and vocational education.

Addams was critical of the public schools and she questioned whether anything had been done to give boys who stayed in school until the required age of fourteen a consciousness of their social value. Instead she envisioned public schools as social centers that dealt with the larger issue of socializing work. She lobbied for curriculum to bridge the gap between traditional customs and youthโ€™s embrace of popular culture by valorizing craftsmanship, folk music and dance, and theater of the immigrant generation and developing historical perspective while at the same time learning science, hygiene, and household skills for urban living. [28]

Work was at the center of the Labor Museum not as an antiquarian obsession with craft, as latter-day pro-labor New Dealers[29] would contend, but as an approach to socialize and humanize industrial occupations.  Addams had become aware of the realities of workersโ€™ familiesโ€™ lives just as Starr. Central to her concern was the woeful inadequacy of educational preparation for workersโ€™ children.[30] Workersโ€™ children rarely attended high schools and for students who had no intention of attending college, high schools offered little in the way of training for jobs anyway. At the same time, families encouraged their post-grammar school sons and daughters to find whatever work was available. To Addams the long-range outcomes of this custom were dire, consigning young people to lives of insecure employment, low wages, and the sort of hollowness of spirit that led to negative habits and even criminal activity as the culture of the streets provided gratification.[31]

Three black-and-white photos of people weaving on looms, illustrating younger generations engaging in traditional weaving practices from diverse cultures.
A woman operates a spinning wheel while a man stands beside a large loom with woven fabric, in a workshop with patterned textiles hanging on the wall.

Classes and apprenticeship training became important pieces of the programs offered at Hull-House, part of a complicated equation that balanced demonstrations by immigrants โ€œperformedโ€ to develop intergenerational understanding and respect of old world customs with the new vocational knowledge that aided first and second generation daughters and sons to enter the American economic system. Addamsโ€™s views of vocational guidance and industrial curriculum differed from both the plans put forward by business interests and those developed by organized labor precisely in this idea of connecting current skill learning with the history and art of craft. [32] 

 Instead Addams incorporated the immigrant women and men who regularly “performed” their artistry and crafts in the Labor Museum, in the education of young boys and girls. This was an innovation pedagogically. The elders took on young men and women as “apprentices.”  The products of the work were made available for sale, with the same split between the House and the artisan.  There are no statistics to measure how much any artisan “earned” or how many students transitioned into a permanent industrial job.  The dissemination of the craftsman ideal to the youth of the neighborhood was much more important to Addams than running industrial shops that saw a profit or adapting youth to fit the specific employment needs of industry. [33]

Three black and white photos show people engaged in hands-on industrial and arts education, with a quote highlighting Jane Addams support for vocational learning and crafts in the humanities context.

The Labor Museum and Industrial Shops were inaugurated by Addams at the peak of the arts and crafts movement in Chicago and at a time when โ€œexhibitionโ€ to educate the public on industrial conditions, model housing, and municipal planning was a key strategy of reformers and practitioners of the new fields of sanitation, urban planning, and public health.[34] It was also a period in which middle-class native born Americans were not convinced that the โ€œNew Immigrantsโ€ were assimilable. The charts that demonstrated the continuity and similarity of craft in the history of industry also depicted universality among the different ethnic groups whose techniques were both culturally specific and part of the universal story. There was a positive response from middle-class visitors, a key piece in Addamsโ€™s agenda.  Addams expanded programs, added classes, and collected more artifacts and encouraged the collaboration of all the other departments of the settlement house in this pursuit of an educational medium that would successfully connect immigrants and their children in a positive way to the long history of industrialism, and as well, connect Americans with their new neighbors.

Two people place bricks into a large kiln at Hull-House, preparing it for production. Stacks of bricks are in front of the kiln, and one person is looking inside while the other hands over a brick.

Hull-House used art to advocate for democratic principles, to teach democratic values by living up to the highest standards of conduct with respect to the rights of others; and to encourage the broadest, most inclusive cultural as well as civic engagement of the whole community.  Long before the New Deal programs for theater and art inaugurated a period of intense public support for the arts in a democracy, Addams critiqued the narrow eighteenth century notion of democracy as being equated almost entirely with representation through voting, and sought to make democracy relevant to the cultural needs of the masses.

A man stands behind a table displaying handcrafted pottery, including bowls and a decorative plate, in a workshop. Text below describes Mexican artisans teaching pottery at Hull-House in 1927.
Assorted colorful ceramic bowls and pots are arranged in a group. A caption explains their origin and connection to Fiesta Ware.

[1] Here I have not the time to interrogate the authenticity of traditional craftwork of the neighbors. In my chapters in Eleanor Smith’s Hull House Songs: The Music of Protest and Hope in Jane Addams’s Chicago co-authored with Graham Cassano and Jennifer Payette (Chicago: Haymarket,  2020), I deal with the more complicated performance of craft that went on. I called it constructed craftsmanship. See, Eleanor Smith, 278.

[2] William T. Stead, If Christ Came to Chicago: A Plea for the Union of All who Love in the Service of All who Suffer (Review of Reviews: 1894).

[3] Graham Cassano, Rima Lunin Schultz, and Jessica Payette, Eleanor Smith’s Hull House Songs: The Music of Protest and Hope in Jane Addams’s Chicago (Chicago: Haymarket, 2020), 170.

[4] Nancy E. Green, Byrdcliffe: An American Arts and Crafts Colony. Ithaca, New York: Herbert F. Johnson Museum of Art, Cornell University, 2004 catalog, 231.

[5] โ€œFrom Sweden to Woodstock: The Art and Career of Carl Eric Lindinโ€ by Tom Wolf. Catalogue: David Cook Fine Art, Denver, Colorado, 2005, 5.

[6] “From Sweden to Woodstock” 5-10. In 1904 Lindin exhibited thirty-two paintings at the Art Institute of Chicago. He married Louise Hastings in 1911; she was the daughter of a wealthy banker and civil engineer and was part of the Hull-House circle. She learned bookbinding from Ellen Starr. Carl and Louise wed at Hull-House. (Wolf, 10.) Louise Lindin worked on her bookbinding as well as weaving and sewing. (Wolf, 11.)โ€œIn 1911 he [Lindin] had an exhibition at the Art Institute of Chicago consisting of thirty-eight paintings, all landscapes.โ€ (12) In 1923 and 1924 Carl and Louise spent the winters in Ojai, California, where they taught at the Ojai Valley School, founded by their old Hull-House friend, Ed Yeomans.  (Wolf, 16.) Note: Lindin painted a portrait of Jane Addams and also one of Hervey White.

[7] Listed “In Memoriam,” Hull-House Residents 1889-1929. Note: Bruce Robert Kahler, “Art and Life: The Arts and Crafts Movement in Chicago, 1897-1910,” Ph.D. Dissertation, Purdue University, August 1986, lists Twose as the secretary of the Arts and Crafts Society. However, Eileen Boris, Art and Labor, says that George Twose was the society’s first president (pp. 45-46) and that its secretary was Ellen [Ella Raymond] Waite.

[8] In 1906, she was recruited by Dr Wilfred Grenfell, the medical missionary, to teach weaving to women at St Anthony, a small community at the northern tip of Newfoundland, and for four years she painstakingly laid the groundwork for a variety of craft industries. Jessie Luther at the Grenfell Mission is an annotated edition of a travel journal that Luther wrote from 1906 to 1910. Edited by Ronald Rompkey, author of the most authoritative biography of Grenfell, Luther’s journal provides an unusually intimate account of Wilfred Grenfell during these four years.

[9] “Occupations of the Residents of Hull-House,” 1935-36. She is listed in Hull-House Yearbook Forty-Fifth Year.

[10]

[11] Vincent L. Michael, “Recovering the Layout of the Hull House Complex,” Urban Experience in Chicago: Touring the Buildings: Inside The Complex, http://www.uic.edu/jaddams/hull/urbanexp (Urban Experience in Chicago: Hull-House and Its Neighborhoods, 1889-1963, Jane Addams Hull-House Museum website, UIC.

[12] Jane Addams, โ€œLabor Museum at Hull House,โ€ Current Literature Oct. 1900, Vol. XXIX, No. 4; American Periodicals Online, p. 423.

[13] Mary Ann Stankiewiez, “Art at Hull House, 1889-1901: Jane Addams and Ellen Gates Starr.” Woman’s Art Journal (Spring-Summer 1989), vol. 10, No. 1, 37.

[14] Jane Addams, Twenty Years, 375. Addams, however, proudly displayed the arts and crafts produced in the shops at the 3rd annual exhibit of arts and crafts held at the Chicago Art Institute: Catalogue, Third Annual Exhibition of Original Designs for Decorations and Examples of Art Crafts having Distinct Artistic Merit, The Art Institute of Chicago, December 6 to December 21, 1904, 53-55.

[15] Starr quoted in Eileen Boris, Art and Labor: Ruskin, Morris, and the Craftsman Ideal in America (Philadelphia: Temple University Press, 1986), 180.

[16] Elizabeth Palmer Carrell, “Reflections in a Mirror: The Progressive Woman and the Settlement Experience,” Ph.D. dissertation, The University of Texas at Austin, 1981, 30.

[17] “Chicago’s Hull House.” Report on an Address by Ellen Starr, 1895, Hull-House Scrapbook, III, JAMC, Spec. Col. Daley Library, UIC.

[18] โ€œI have thought of the possibility of my dying [before] the experiment [Hull-House settlement] is in full sway,โ€ Addams wrote her sister Alice. โ€œAs Ellen has given up her regular teaching and trusts all her future to the affair, I should like her to be given $1500.00 enough to support her for a year or more until she could get back into her regular work. I have now made a will and . . . know you would see to that for me.โ€[18] Jane Addams to Sarah Alice Addams Haldeman, August 31, 1889, JAP reel 2-1079-1080.

[19] In 1904 Starrโ€™s pupils Peter Verburg and Mary Kelley exhibited bound volumes: Catalogue, Third Annual Exhibition of Original Designs for Decorations and Examples of Art Crafts having Distinct Artistic Merit, The Art Institute of Chicago, December 6 to December 21, 1904, 53-55.

[20] Starr was one of the founding members of the Chicago Society of Arts and Crafts. Eileen Boris, Art and Labor: Ruskin, Morris, and the Craftsman Ideal in America (Philadelphia: Temple University Press, 1986), 33, 45-46. When the arts and crafts community, Byrdcliffe, was established in Woodstock, New York, in 1902, Starr was a visitor. Nancy E. Green, โ€œByrdcliffe and the โ€˜Dream of Somewhere,โ€™โ€ The Journal of the Decorative Arts Society 1850 โ€“the Present. No. 28, ARTS & CRAFTS ISSUE (2004), pp. 56-81.

[21] Starr reconciled to her displacement by Mary Rozet Smith as Addamsโ€™s partner and remained in residence at Hull-House until 1930, when illness forced her to relocate. Even then Addams and Starr remained deeply attached. Rima L. Schultz, โ€œSmith, Mary Rozet,โ€ in Women Building Chicago, 817-819.

[22] “Fine Work in Binding Books,” Chicago Chronicle, Apr. 22, 1900, 19; Suellen Hoy, Ellen Gates Starr. Her Later Years (Chicago: Chicago History Museum, 2010,) 5-7.  Starr was a talented bookbinder and her work was exhibited along with the top artisans in the field. One of her best students, Peter Verburg, went on to have an outstanding career. Boris, 181.

[23] This was the Waitressesโ€™ union strikes against the downtown Chicago popular restaurant, Henriciโ€™s, that began in February of 1914: โ€œGirl Pickets Open Boycott Fight on 35 Cafes in Loop,โ€ Chicago Tribune, Feb. 6, 1014, pg. 13; โ€œEllen G. Starrโ€™s Trial on Today,โ€ Chicago Tribune, March 4, 1914, pg. 7. Suellen Hoy indicates Starrโ€™s public activism troubled her fellow Hull-House residents. Suellen Hoy, Ellen Gates Starr. Her Later Years (Chicago: Chicago History Museum, 2010), 16-17.

[24] Carrell, 357-358. Lila Weinberg, โ€œWilmarth, Mary J. Hawes, โ€œin Women Building Chicago, 982-986.

[25] Carrell, “Reflections in a Mirror,โ€ 398-400.  Starr to Wager, Hull-House, Feb. 12, 1917, Ellen Gates Starr Papers, Sophia Smith Collection, Box VIII, Smith College.  Among her periods of depression, in 1896, after a garment workersโ€™ strike, the first in which she was actively involved, Starr became exhausted and left for New York for a prolonged period. In 1907 she collapsed from nervous exhaustion, spent a month in a sanitarium, and spent 1908 abroad, living in relative isolation on a farm in Ireland. For her conversion to Roman Catholicism, see: Starr, “A Bypath into the Great Roadway,” Catholic World vol. 119, May 1924.

[26] Ellen G.  Starr, “College Settlement Work: Hull-House,โ€ 4th paper published by the Society of the Companions of the Holy Cross [Adelynrood, Byfield, Massachusetts: 1895], 1-3. Starr most likely was disappointed in the other group to which she attempted to meld art and labor: the Chicago Society of Arts and Crafts. Historian Eileen Boris found that “By 1910 it [the Chicago Society for Arts and Crafts] had dwindled to 26 members, who concentrated on running their own studio-shops rather than promoting cooperative ventures. Crafts workers increasingly were alumni of the School of the Art Institute, which had replaced Hull House as the center of the movement in Chicago. With this shift, the craftsโ€”while flourishing as profession, personal avocation, and part of an appealing lifestyleโ€”lost their more intimate relation to the reform impulse.” Boris, Art and Labor, p. 51.

[27] Carrell, 357.

[28] Elizabeth Fones-Wolf, โ€œThe Politics of Vocationalism: Coalitions and Industrial Education in the Progressive Era,โ€ The Historian, Vol. 46, No. 1 (November 1983), 43.

[29] Charlotte E. Carr, headed Hull-House from 1937 to 1942, at the height of the settlement houseโ€™s engagement with the New Deal Popular Front and Cultural Front movements. Discussion of these developments follows.

[30] Addams was so concerned about the fate of young girls, fourteen years and older, that in 1912 the Hull-House Trade School for Girls was opened and used the area of the industrial shops and other classrooms. Dressmaking was emphasized and girls were placed in dress-making shops after completing a summer course. By 1915 a new department, The Hull-House Design Shop, prepared girls to work in childrenโ€™s clothes shops. Anne S. Davis, โ€œThe Hull-House Trade School for Girls,โ€ The Educational Bi-monthly, 207-208.

[31] Jane Addams, The Spirit of Youth and the City Streets (New York: The Macmillan Company, 1909), 107.

[32] Washburne, 571.

[33] Washburne, 571. Eileen Boris, Art and Labor: Ruskin, Morris, and the Craftsman Ideal in America (Philadelphia: Temple University Press, 1986).

[34] The 1893 Columbian Exposition, the Tenement House Exhibit of 1900 (New York City), the Chicago Child Welfare Exhibit in 1911, just to name a few.  Addams was one of the jurors at the Paris Exposition of 1900 where she attended the lectures given by evolutionary sociologist Patrick Geddes, accredited with pioneering urban planning and took great interest in his exhibit. She had met him before and he had visited Hull-House during a lecture tour of the U.S.  Jane Addams to Mary Rozet Smith, Paris, France, June 14, 1900, Swarthmore College Peace Collection Jane Addams Papers Series 1, JAP reel 3-1585-1588; Jane Addams to Mary Rozet Smith, Paris, France, June 27, 1900, Swarthmore College Peace Collection Jane Addams Papers series 1, JAP reel 3-1597-1601; Geddes work was known to Addams. Iโ€™m not sure when they met for the first time.

From Lincoln Rubber Ducky to Addams Signed Note

A handwritten note reads: Faithfully yours, Jane Addams / Dec-Home, Chicago.

For the twenty years I edited Abraham Lincolnโ€™s papers, I never had a strong desire to own a Lincoln document. Well, letโ€™s be honest, I never made enough money to buy a Lincoln document. Even a clipped Lincoln signature will set you back a few grand. Instead, my Lincoln collection included a bookcase full of Lincoln mass-market biographies and edited volumes, a nice bust, one significant historic print, a few mugs, salt and pepper shakers, and a weird-but-adorable Lincoln rubber ducky. A rubber duck dressed in a black tuxedo and top hat is placed on a wooden shelf in front of books about American history and the Constitution.

My Lincoln collecting was not at all sophisticated, based as it was on a scholarly editorโ€™s pocketbook, but it was great fun and it still gives me much joy.ย  Looking back on my collection now, I understandย  the value of my kitschy Lincoln stuff for the giggle it inspired in me as I conducted my serious scholarly work and for the little breather it provided from the rarified air of academic history. History should be fun, darn it, and part of the reason I think so many Americans find history boring is because they had teachers who squeezed no fun out of history at all.

I am a historian who squeezes a great deal of fun from the work I am lucky to do. I am also a historian who embraces my historical subjects with a big hug, leaning in and opening my heart as well as my head to my work. I am passionate about finding the humanity of the historical figures I study. I think at least in part, the fun I had collecting Lincolniana humanized Lincoln for me and humanized the scholar in me, too. It allowed me to see Lincoln as a man (and a bobblehead), not as a god or a myth, and to allow my work to delight me. My editing work made an important contribution to Lincoln scholarship, but allowing humor and humanity into the work provided me with balance. My joyful approach to Lincoln rooted my feet to the ground, where history actually lives, and kept my head out of the ivory tower, where history is sometimes self-important and inaccessible.

When I started working for the Jane Addams Papers Project in January 2017, I naturally approached Jane Addams in the same way I had approached Lincoln. Joy and a sense of fun balanced my very serious effort to get to know the woman and the social reformer Addams was, to understand her era, and to learn all I could about the fascinating historical contexts of her life. In the beginning of my work with the project, I immersed myself in biographies about Addams, and I studied her surviving correspondence, the speeches she delivered, and the articles and books she published. However, I also immediately coveted the Jane Addams dollA cloth doll dressed as Jane Addams stands next to a row of vintage books, including several titled Twenty Years at Hull-House, on a wooden shelf with a framed portrait in the background. that was sitting on a shelf in the projectโ€™s offices in New Jersey. All work and no fun is just not my style.

It took a few weeks, but I found said doll on eBay for $10, and Jane the Doll has been sitting next to or on my desk ever since. In her smart gray frock and sensible black hat she stands, with a slight muppet-like smile, holding her memoir Twenty Years at Hull-House under her arm and wearing her Nobel Peace Prize medal around her neck. To me, Jane the Doll is a muse, of sorts, juxtaposed as it is to the ever more solemn nature of the life-changing reform work in which the real Jane Addams was engaged. I also like that the doll is the silly to Jane Addams’s serious. It is, as well, a daily physical reminder that while my work may be a scholarly business, it is also an honor and a pleasure. I actually get paid to do work I love, so why not embrace the passion and the fun within it.

As I did with Lincoln for twenty years, I now do with Jane Addams. I balance the serious with the silly. I admit it is sometimes harder to find the funny bone in Miss Addams than it was to find it in Mr. Lincoln, but that is no bar to my finding levity in the painstaking and labor-intensive scholarly editing work I do. Collecting my subjects is my way of bringing fun into my life as a historian, so it was exciting for me to learn it will be well within my financial reach to collect first editions of each of Jane Addams’s published books (five already down six to go!). Although memorabilia of Addams is far more rare than it is for Lincoln, in my growing collection of Addams kitsch, I have already added a peace poster for the wall,A smiling woman with sunglasses on her head stands in front of a brick wall and a framed black-and-white photo of people holding a large โ€œPEACEโ€ banner. buttons with โ€œI Love Jane Addamsโ€ and โ€œI love Peace,โ€ a coffee mug, and a โ€œPeace, Love, and Jane Addamsโ€ t-shirt. Only recently, however, did I realize that a Jane Addams document could be available to me for purchase.

A few weeks ago, I traveled to Springfield, Illinois, for a Lincoln event and to meet up with a group of people who have come into my life through our shared interest in Abraham Lincoln. One of those people who joined me in the sunny beer garden across from the Lincoln Home that afternoon brought me a surprise from the rare bookshop where he works: a printed calling card signed by Jane Addams! It is not a historically important note or a romantic letter to Janeโ€™s beloved Mary Rozet Smith. It is not large, measuring just a 3ยฝ by 2ยผ inches. It is not in perfect condition, either. In fact, it has some damage on the printed side from glue which held it in position in an album or adhered it to matting within a frame, and one blob of gluey residue obscures the printed script of โ€œHull-House.” However, the handwritten side is pristine and features legible-for-Jane-Addams scrawl and her characteristic loopy signature. It is a humble document, indeed, but its imperfections do not lessen my enchantment with it.

Holding that little note in my hands for the first time tendered a tangible spark through my fingers and up to my heart, sending me back in time 100 years. To noisy, dirty, Progressive-Era Chicago. To Hull-House in the cityโ€™s impoverished and overcrowded 19th Ward. To Jane Addams, โ€œthe worldโ€™s best-known and best-loved womanโ€ of her time, standing in the doorway. Handling a historic document has always been for me a kind of handshake with the historical figure of the past who wrote it. Over the years of searching for Lincoln documents in repositories across the country, I shook hands with Lincoln a great many times. But because I work with digital copies of documents at the Addams Papers, this was the first time I had the pleasure of this special and particular introduction to Addams. My day trip to Springfield got even better when I carried that little scrap of Jane Addams handwriting home for fifty times less than it would have cost me had Abraham Lincoln been the one who had penned it.

It annoys me to know that the manuscript market is as sexist as the world. To deem as practically worthless a handwritten note with a fine signature, written by a woman who was the most significant reformer of the Progressive Era, is, I think, almost a crime. But the marketโ€™s misjudgment and loss is my gain, allowing me to own a piece of historical magic. My little Jane Addams note is priceless to me. It is the star of my collection of Addamsiana, andย  I plan to have it conserved and encased in a two-sided archival frame. I do not have aspirations to collect additional documents in the hand of Jane Addams. This one will be enough for me (at least for now, I think). ย It conjures the handshake, inspires my joy, and provides a palpable human connection to a woman I get to hang out with five days a week.

Anyway, from the perspective of historical memorabilia, in going from a $1 Lincoln rubber ducky to a signed Addams note worth about 100 bucks, I’ve come a long way, baby. Maybe not the equivalent of Jane Addams getting the right to vote, but still super cool for this historian, who is having way too much fun.

By Stacy Lynn, Associate Editor

Jane Addams, Ida B. Wells, and Racial Injustice in America

A black-and-white portrait of a woman with short, graying hair, wearing a pearl necklace and a dark garment, looking slightly to the side with a calm expression.

A black-and-white portrait of a woman with short, graying hair, wearing a pearl necklace and a dark garment, looking slightly to the side with a calm expression.

Jane Addams made the acquaintance of renown African-American journalist and civil rights activist Ida B. Wells sometime in the 1890s, but in the summer of 1899 these two extraordinary women joined forces. In Chicago, each was engaged in different but overlapping endeavors to make the world a better place, but thinking about the two of them working together reinforces my fascination with the past. Continue reading “Jane Addams, Ida B. Wells, and Racial Injustice in America”

Guest Post by Taylor Mills on The New Women of Chicagoโ€™s Worldโ€™s Fairs (1893-1934)

A black-and-white photo of a large domed building by a reflective pool, with a statue holding a staff and a figure raised in one hand in the foreground, at the Worldโ€™s Columbian Exposition in Chicago, 1893.

I was fortunate enough to get in contact with Taylor Mills, current curator at the Chisholm Trail Museum and recent graduate of the University of Central Oklahoma, who wrote her MA thesis on the women of the Chicago’s World’s Fairs from 1893-1934. She spoke of her interest in the topic, what her research focuses on, and her thesis process. Continue reading “Guest Post by Taylor Mills on The New Women of Chicagoโ€™s Worldโ€™s Fairs (1893-1934)”

Poet and Con-Artist: The Story of Scharmel Iris

A sepia-toned portrait of a young person with curly hair, gazing to the side. They are wearing an open-collared shirt and a jacket, with a soft, blurred background.
Scharmel Iris (Lyrics of a Lad (1914)

Sara Catherine Lichon is writing a series of blog posts about interesting characters that she comes across while working as a co-operative education student for the Project this semester. Her work involves identifying and describing the over 5,000 unique individuals mentioned in Addamsโ€™ correspondence.

As a student, I’ve heard many a time that academic honesty is of the utmost importance, and that plagiarism can end one’s academic career. But back in the early 1900s, plagiarism was responsible for the rise of poet Scharmel Iris’s career, who made a living by fooling others.

Iris was born in 1889 with the name Frederico Scaramella in Castelcivita, Italy. When he was three years old, his mother married a man who helped them immigrate to the United States where they settled in Chicago. Iris changed his name and in 1905, when he was sixteen years old, his first poem was published in a Chicago Catholic newspaper. Soon his career skyrocketed as he was published in Harriet Monroe’s Poetry magazine, received positive reviews from Chicago newspapers, and published his own collections of poems. He received most of his funding and notoriety with the help of other famous poets and artists, such as T.S. Eliot, W.B. Yeats, Salvatore Dali, and Picasso, who wrote praise-filled letters to Iris’s patrons.

There was one major problem with Iris’s success, thoughโ€ฆit was based entirely on lies. Rather than being a great poet, Iris was simply a con-artist. Letters and praise from Eliot, Yeats, and Picasso were forged by Iris himself, and Iris even wrote about himself to publishers and patrons under the pseudonym Vincent Holme. Forgery and plagiarism, rather than talent, provided the base for Iris’s career and fame.

A typed letter dated Jan. 20, 1913, on Hull-House letterhead, addressed to Miss Harriet Monroe, Chicago. The letter discusses poets, critics, and charity, and is signed by hand at the bottom.
Jane Addams’ letter to Harriet Monroe, Jan. 20, 1913. Addams stated that Iris had “no right” to claim she advised him to reach out to different poets.

Jane Addams herself was a victim of Iris’s scams. Iris spent part of his life as a Hull-House resident, and when he published Lyrics of a Lad in 1914, he supposedly received praise from art critic John Ruskin and poets Algernon Charles Swinburne and Edmund Gosse. In January 1913, Addams wrote a letter to Harriet Monroe describing how Iris claimed she had told him to reach out to Gosse and even Yeats. Addams stated, “Poor Scharmel Iris really has no right to say that I advised him to write to Miss Guiney, or to Edmund Gosse, or to Mr. Yeats.” Words had been put in Addams’ mouth by Iris, and she was only one of many.

Iris’s scams even extended to his living situation. He lived at Lewis College, a Catholic school near Joliet, despite not working or teaching there. He stayed there until he was asked to leave in 1966, and he spent the remainder of his life at St. Patrick Retirement Hotel. He died in 1967.

Excerpt from a poem titled After the Martyrdom, describing the act of throwing stones and the resulting emotional burden, with lines reflecting on guilt and remorse for participating in harm.
A poem by Scharmel Iris, published in Poetry in December 1914.

Regardless of Iris’s talent as a poet, it’s hard to deny that he had a talent for fooling others. Iris’s entire life and career was built on plagiarism, yet he lived the life he had always dreamed of — that of a successful, well-known poet . . . even if it was actually a lie.

 

 


Sources:
Announcement of Lyrics of a Lad by Scharmel Iris, 1914.
Inventory of the Scharmel Iris Papers, 1911-1964, The Newberry Library.
Jane Addams to Harriet Monroe, January 20, 1913.
Nina C. Ayoub, “Forging Fame: The Strange Career of Scharmel Iris,” The Chronicle of Higher Education, August 17, 2007.

Jane Addams and the News Babies of Chicago

Two young boys stand outdoors holding stacks of newspapers. They wear dark jackets, light shirts, and hats, and look directly at the camera with serious expressions. The image is in black and white and appears old.In the early twentieth century, newsboys were a characteristic of the urban landscape, a ubiquitous presence on big city street corners across America. Boys and girls as young as five or six peddled penny and two-penny papers in the wee morning hours, during the school day, and long, long, long after dark. On muggy and sunny summer days and on blustery winter nights, children sold the news and collected their pennies. In 1900, there were ten major, general-circulation newspapers in Chicago and dozens more specialty publications, as well; and at least 4,000 newsboys and newgirls sold them from established newsstands, from pull carts advertised with newspaper mastheads, from makeshift box displays, and from right out from under their own little arms. The exuberant voice of the newspaper crier, which cut above the chaotic din of the bustling Chicago streets, was more often than not the voice of a child.

And where there was the voice of a child on the streets of Chicago, there was, of course, Jane Addams. In a number of speeches in the early 1900s, Addams argued that โ€œsomething should be done to take the babies from the streets.โ€ Through her work at Hull-House, Addams witnessed firsthand the dangers faced by children who earned a living on the urban streets. Popular culture has romanticized the newsboy as a โ€œsaucy, chatteringโ€ chap, whose smudged, little face and crooked Gatsby-hat belied street smarts and worldliness that made him wise beyond his years. Yet Addams would never have succumbed to such romance, for her experiences had shown her otherwise. So while Chicagoโ€™s newsboys raised their voices to sell Chicagoans the news, Jane Addams raised her voice to protect them.

Many programs at Hull-House kept children off the streets, maybe even keeping some from resorting to the sale of the evening news. Addams spent a lifetime lobbying for child labor laws, and her hard-hitting articles and widely attended speeches raised public awareness about the difficulties of life for poor children, particularly those of Chicagoโ€™s immigrant families. But as was the way of the world in the Progressive Era, many children in the inner city had few choices; and for some, the freedom of movement and money in pockets made selling the news quite an alluring prospect. There were a few newsboys who made $3-5 dollars a day. One small Italian boy named Antonio, who operated two stands on the corner of Clark and Monroe streets, sold 1,000 newspapers a day. The thirteen-year-old Antonio had inherited the prime location from his father, and he benefited from a corner monopoly at a very lucrative location. Antonio was one of the lucky ones, however. Most newsboys were fortunate to take in a fraction of Antonioโ€™s income, as typical pay was just 50 cents per 100 penny papers sold each day; and most did not have the luxury to stand still in one spot and sell such a large quantity of papers. Instead, they lugged heavy, wheeled carts, toted bulky satchels, or secured their product under their arms, as they searched the streets for customers. And it was those roaming newsboys who were, of course, most vulnerable to the dangers and temptations of the city.

Children selling papers at rush hour, at dark, in terrible weather, and without protective supervision faced many perils. In June 1903, Cornelius Scanlan, a twelve-year-old newsboy was selling papers to street car travelers on 47th street when he was hit and killed by a northbound train. Many newsboys were orphans or from poor families and were inadequately attired for Midwestern rains and for Lake Michigan cold. One newsboy named Peter was found sleeping in News Alley at 2 a.m. on one of the coldest days of the winter. He claimed to be an orphan who came to Chicago from Milwaukee. Weather was a constant problem for those who worked and lived out of doors. Newsboys were also frequently the victims of crime. William Cullen was a blind newsboy who was โ€œa familiar figureโ€ at Blue Island Avenue and Twelfth Street. He sold newspapers from a small wagon and with the protection of a dog, but one night as he slept two men stole his newspaper stand, jeopardizing his means of subsistence.

Particularly troubling was the potential for sexual assault. The Chicago police collected evidence on one adult news dealer who had a prosperous corner on Halsted Street. He made eight boys who worked for him come to his room to receive their pay โ€œand there committed violenceโ€ on each, most under the age of 14. One-third of the newsboys sent to one reform school in Chicago had venereal disease, an unfortunate reality for many kids who risked life and health on the streets. Of course, even those who were not abused suffered lung ailments and other sicknesses that went untreated; and if they became too unwell to sell papers, they lost income, as well. Sadly, too, adults who should have protected them were often the perpetrators of mistreatment. Many parents, some desperate themselves, pressed these children into the newsboy โ€œeconomy.โ€ Police officers were sometimes guilty of harassment, as some in Chicago took payoffs from newspaper companies to guarantee particularly lucrative corners, muscling away newsboys who โ€œtrespassedโ€ upon those monopolies, and even arresting others for loitering.

In 1902, a group of some 200 newsboys organized the Chicago Newsboysโ€™ Protective Association. This union tried to mediate the conditions of newsboy employment with newspaper publishers, to lobby for better conditions, and to help members who were sick or injured. Strides were minimal, and the streets were no less dangerous. As well, newspapers in this era had multiple editions, and papers were published at morning, at noon, and at night. As such, days for newsboys were often long; and truancy from school was a common problem. Working on A young boy wearing a hat stands on a city street, holding up a newspaper with the headline Millionaire Tax Rends G.O.P. The scene appears to be from the early 20th century.the streets also exposed newsboys to the temptations of gambling, smoking, and other vices that resulted from a vagrant lifestyle. Some of these kids were runaways. Edward Fink, a twelve-year-old from South Bend, Indiana, took $30 from his mother and traveled to Chicago on a freight train. He was selling papers on the streets of Chicago and living with other newsboys when he was arrested and returned to his parents. Another boy, a sixteen-year-old from Texas moved to Chicago to work as a newsboy because black newsboys were not allowed in his town. But when he arrived in South Chicago, police arrested him for vagrancy.

In 1903, Jane Addams was part of a two-day investigation into the lives of newsboys in Chicago. Commissioned at the behest of the Federation of Chicago Settlements, a committee of twenty investigators hit the streets to interview 1,000 newsboys (including 20 newsgirls) in Chicagoโ€™s โ€œLoop.โ€ They reported that โ€œwhile favorable to the legitimate features of the newspaper industryโ€ their investigation confirmed their โ€œimpression that Chicago needs a city ordinance which would obviate many of the abuses now apparent in the news trade.โ€ The committee printed a 28-page, illustrated pamphlet, which outlined the work and social conditions of the children who sold newspapers and offered proposals for child labor laws to protect them. The investigation in Chicago reported that the newsboys they interviewed had ranged in age from 5-22 and that 127 of them (12%) were under the age of 10. Among the number, Italian, German, Irish, and Jewish immigrants were numerous. The investigators turned up one five-year-old child and five other kids who were just six. The report noted that โ€œthe small boy, under ten years of age, is on the ragged edge of the newspaper business.โ€ No doubt, younger newsboys faced the most hardships and dangers, too.

The pamphlet garnered some attention, but six years later Addams was frustrated. In a speech in March 1909 about children and street Two children in old-fashioned coats and hats stand on a city sidewalk next to a stack of newspapers for sale. A large stone building is in the background. The sign on the stand reads โ€œThe Daily News.โ€.trading, she complained that newsboys had fallen in the category of โ€œmerchantโ€ and were not subject to child labor regulations. Addams was annoyed that even as Illinois had enacted a child labor law, which should have limited the working hours of all children and protected them from harsh labor conditions, it did not apply to Chicagoโ€™s newsboys. โ€œSo far, we have been unable to secure any legislative action on the subject,โ€ she lamented. โ€œIt is a very disgraceful situation, I think, for Chicago to be placed in while the Illinois child labor law is so good. The City of Chicago is a little careless, if not recreant, towards the children who are not reached by the operation of the state law.โ€ And so, Jane Addamsโ€™ battle for the safety and wellbeing of all children would continue.

The remarkable, illustrated pamphlet that Jane Addams and her group published is now a part of the Jane Addams Digital Edition, where you can read the document in its entirety. You will also, no doubt, enjoy the poignant photos of real newsboys and newsgirls who worked on the gritty streets of early twentieth-century Chicago.

By Stacy Lynn, Assistant Editor

Sources: Jane Addams, โ€œAddress to the Merchants Club, March 8, 1902,โ€ย Jane Addams Digital Edition;ย  Jane Addams and Federation of Chicago Settlements, Newsboy Conditions in Chicago (1903),โ€ย Jane Addams Digital Edition, accessed March 31, 2017; Chicago Daily Tribune, 7 May 1903, 3:1; 24 June 1903, 1:6; 9 October 1903, 4:3; The Inter Ocean (Chicago, IL); 5 August 1903, 9:5; 13 September 1903, 25:1-7; Aaron Brenner, Benjamin Day, and Immanuel Ness, eds., The Encyclopedia Strikes in American History (New York: Routledge, 2015), 614; โ€œChicago Newspapers,โ€ https://chicagology.com/newspapers/; Myron E. Adams, โ€œChildren in American Street Trades,”ย The Annals of the American Academy of Political and Social Scienceย 25 (1905): 23-44.ย The photos featured here are included inย Newsboy Conditions in Chicago.

Reconsidering Jane Addamsโ€™s Neighborhood Plan

“I went to S. Clark St. this morning to show tenement houses there to [George Ward Springer] a youth of wealth who is inspired by the Holy Ghost to build model tenement houses,โ€ Ellen Gates Starr wrote her sister in 1890. โ€œI donโ€™t mean that he professes this inspiration, but the source is undoubtedly no less. . . Mr. [Allen] Pond says his father is rich, & that he himself commands money.โ€[1]  

When Starr and Jane Addams had selected the Hull home in 1889, with advice from Pond, they were already on the look-out for opportunities to re-build the slums. Renting rooms in the rundown Hull mansion from Helen Culver, who had just inherited the house and surrounding properties from her cousin Charles Hull, was most likely more than a coincidence. News of Culverโ€™s spectacular inheritance of the Hull real estate empire was in the daily press at the time when Addams and Starr were house hunting. And Culver was a philanthropist receptive to the reform ideas of the young women.  Culver, along with Allen Pond, and several other wealthy, but civic-minded Chicago women and men capitalists served as trustees when the Hull-House Association was first incorporated and backed Addamsโ€™s plans with money. Under Addamsโ€™s leadership slum property was obtained, cleared, and new buildings constructed. A coffee-house replaced the saloon, a neighborhood institution dominated by corrupt politicians and the liquor interests; gymnasium and playground were new additions to a neighborhood that Addams believed ignored the public recreative needs of citizens; the childrenโ€™s building provided innovative approaches to child nurture and offered immigrant mothers instruction in scientific motherhood;  art gallery and library, menโ€™s and womenโ€™s clubs, space for meetings and adult classes and forums, for music concerts and dancing offered a new kind of social and cultural space free of the corrupting influences of crass commercialism, liquor, prostitutes, and corrupt politicians.

The complex, as it evolved, had political implications too. In 1898, having lost to the political machine, Addams used the expansion of a new building as a statement of opposition to the ward boss. โ€œThis [new] building will be right back of Hull house gymnasium and will be connected with the steam-heat and electric plants of the Hull house building. It will be a three-story brick structure, with what is known as an English basement. . . work will begin immediately. Considering how little Ald. Powers admires us,” added Miss Addams, “and how he would like to force us out of the 19th Ward, this addition to our buildings and our work seems more than enjoyable, even in a political point of view.” The building was the Jane Club, a residence for working girls.[2]

In building the Hull-House complex Addams was modeling her imagined neighborhood. I am using the term โ€œimaginedโ€ in several ways: first, it is the social plan that Addams exhibits in her construction of buildings and in the invention of multiple uses within the space; it has political and social policy implications. Second, I use the term to identify Addamsโ€™s description or portrayal of the Near West Side and its people.

Third, I use the term โ€œimagined neighborhood” to distinguish Addamsโ€™s representations from the real challenges her settlement agenda confronted among working class men and women.  It was easier for Addams to gain the support of middle-class and wealthy capitalists concerned about class conflict and urban disorder for her projects to build model tenements and upgrade the alleys and streets. The challenges to engagement with adult neighbors were substantial: โ€œI used to carry placards up and down the street, and into crowded saloons to get people into those [settlement] classes,” Hull-House resident Edward Burchard, the first male resident in 1890, explained. “Those [neighborhood] men did not care about art. They did not attend our college classes. There were a few selected people who came to them.”[3] Addams had referred to those selected few as the โ€œtransfigured fewโ€ and she had stopped the art exhibitions within four years of opening the Butler Art gallery, turning instead to the industrial shops and Labor Museum that was to become more central to the settlement.

Working-class discomfort with the bourgeois culture the settlement represented was part of the reason why trade union women left the attractive surroundings of Bowen Hall. In 1908 the Chicago chapter of the Womenโ€™s Trade Union League decided to meet in the Chicago Federation of Labor hall rather than in Hull-Houseโ€™s womenโ€™s space. This rupture after a multi-year relationship was painful for the Hull-House residents and other middle-class allies associated with the union. The young women workers voted, they said, to move โ€œcoming out โ€˜flat footedlyโ€™ for trades unionism and the โ€˜labor atmosphereโ€™ as against artistic surroundings in Bowen hall, formerly the meeting place of the league.โ€[4]

This evening, in the brief time Iโ€™ve got, Iโ€™d like to sketch out some ideas Iโ€™ve been working on along this theme of an imagined plan for the neighborhood that Addams hoped would become its reconstructed space.ย  At the end of Edith Abbottโ€™s book on tenement conditions in Chicago, there is a rendering of the plan for the Jane Addams Homes, the public housing project that is built only a few blocks west of the Hull-House settlement and opens in 1937, two years after Addamsโ€™s death. Department of the Interior secretary Harold Ickes, a longtime ally of Addams, had written the aging, but still active Addams in 1933, about site considerations for a public housing project in Chicago: โ€œFrankly, I would like to have a slum clearance project as near Hull House as possible because that would give fullest opportunity of cooperation between your institution and the Federal Government.โ€[5] True to his progressive reform roots, Ickes was glad Addams was โ€œsounding an optimistic noteโ€ for โ€œreal ‘slum clearance’ . . . in Chicago.โ€ He wrote her: โ€œI have been pushing it from this end, not only on account of my natural interest in Chicago but because it seems to me that it offers a wonderful demonstration point.โ€[6] ย Demonstration point is a key phrase.ย  The Jane Addams Homes, initially intended to have built-in social services and connections to the social settlement in the neighborhood, most likely came closest to the โ€œimaginedโ€ residential component envisioned by Addams.

Here the disconnect with her neighbors was most acute. Not all her neighbors were eager to abandon the possibility or reality of individual home ownership for a rental in public housing. Addams had rejected the ideal of home ownership for the working class years before. In 1900, the year she and Anita McCormick Blaine put together the City Homes Association to promote model tenements, Addams had told attendees at a meeting of the American Academy of Political and Social โ€œthat the individual ownership of a cramped up little house on a dwarfish little city lot was [not] ideally beneficial to the working man.โ€ But two years later, speaking to the same group, Addams revealed she had learned how complicated property ownership in workersโ€™ neighborhoods actually was. “We discovered several things which were very surprising, among them that many of the houses were owned or partially owned by the people living in them.โ€ Addams found that ย the tenant and landlord were represented by the same type of person. โ€œTheir interests are identical, not in the larger sense, but in the immediate sense, and they stand together either in demanding or opposing certain regulations.โ€[7]

Many of the Hull-House neighbors saw value and promise in the old neighborhood and opposed the ideas of professionals who had taken their clues from the social settlement movementโ€™s condemnation of tenement life and missed the complicated narrative of working-class and immigrant entrepreneurship and the great desire for homeownership as a step toward a life of middle class independence, the American dream. Addams had ignored stories of immigrant advancement through ladders of local retail commerce and she had criticized homeownership, especially as she saw familyโ€™s pooling the wages of their children and renting out to boarders.

The family histories I have gathered of Italians whose roots were firmly established in the thirty blocks mapped in the famous 1895 Hull-House Maps and in investigations on housing conditions from 1900 to 1936 tell a different story.

Father Stephen Giovangelo, Florence Scalaโ€™s nephew, now a retired Episcopal priest grew up in the familyโ€™s two flat, a stoneโ€™s throw from Hull-House. On his motherโ€™s side, a great-grandmother and grandmother ran a family grocery near the old Holy Guardian Angel Church, east of Halsted. On his fatherโ€™s side, his grandfatherโ€”Florenceโ€™s dadโ€”owned a tailor shop. Florence and Ernie, Steveโ€™s father, grew up as Hull-House kids; they were also Catholic parishioners, Ernie working after graduating from the University of Illinois-Urbana, for the Catholic Youth Organization, and later, with Florence,  joining the neighborhood efforts organized by Hull-House resident Eri Hulbert, to develop a community-based plan to rehabilitate or conserve the sections of the neighborhood that, to the community, had value and a future.  In the 1950s in Father Steveโ€™s memory โ€œthe neighborhood was anything BUT ‘a ghetto’ or ‘slum’ as some of the city developers referred to it.โ€ 

Earlier Addams had come to a different conclusion. She acknowledged that Hull-House had not been able to marshal the public opinion capable of local political reform. In her eyes the neighborhood had deteriorated. โ€œSlowly through the years one is forced to recognize that the increase of crime is connected with the general state of political corruption throughout the community as a whole,” Addams asserted in 1932. “No social institution can escape from the community which gives it birth and which either promotes or retards its operation.โ€[8] All the cultural activities, the best art and music, the great theatrical productions, could not protect against the street.[9]

How could Addamsโ€™s view of the neighborhood differ so substantially from the neighbors who fought so valiantly years later to save their humble blocks from clearance in preparation for the coming of the University of Illinois Chicago campus?

Addams dealt with immigrants but not with the diversity of culturally different institutional structures and ethnicity, or the commitment her neighbors had to owning their own houses and businesses. In not working with the potential energy for citizen’s activism by incorporating competing religious institutions, the powerful Protestant elites did not generate successful citizen-initiated planning. Jane Addams and the progressives were not against demolishing old neighborhoods and ignoring cultural, religious, and social anchors because they didnโ€™t value them; they had come to change them. They were not particularly excited by the โ€œstreetโ€ and were disinterested in finding ways to fix up the houses and loan money for mortgages, or build affordable housing beyond the most meager efforts. Such strategies emanated instead from the neighborhood groups after the 1930s and, ultimately, in the 1950s were met with resistance from professional urban planners and public housing advocates and the real estate industry and city hall.

In 1935 Edith Abbott found there had been several housing reform movements in Chicago but very few improvements have come as a result of these efforts. “Certainly no one political group can be charged with responsibility for the failure to find the way out of our tenement problems” she concluded, and did not hazard a guess as to what role progressive reformers themselves might have had in the failures of reform efforts. Progressive era reformers mapped the neighborhood and stamped it as a “slum” and began a tradition of using the “best” worst case to argue for critically needed reforms of sanitation facilities, housing and work conditions, at the same time leaving out positive signs of social and occupational mobility inside the neighborhood.[10] Abbott, echoing Addams, held great enthusiasm โ€œfor new and better houses and gardens for the families living on low wages, or no wagesโ€ with the prospect that the expenditure of public funds in the long run will be โ€œcounterbalanced by smaller demands for hospitals, juvenile courts, reformatories, courts and prisons.โ€

There was something even more basic in the โ€œimaginedโ€ community that Addams had created that can account for the ultimate clash of interests between the people and the reformers. Ellen Starr did not agree completely with the direction that Hull-House settlement was taking early on in the experiment. Her disagreement, which she voiced, distanced her from Jane Addams. In 1892 she accused Hull-House of being merely “an excuse for the things we ought to do and be and don’t and aren’t.”[11] She worried about the contradictions of offering bourgeois culture to workers but not sharing power with them. “If we don’t wish working people to stand upon the same ground with us, if we believe that there is an eternal distinction, if we believe in caste, no matter how we disguise it, then why shouldn’t we let them alone? Why insult people by saying to them, ‘you are different, you will be different always, you can never be as we, knowing false and true, beautiful and ugly, but we wish to be kind to you, we want you to enjoy in your poor capacity, what you are capable of enjoying, and so we come and give you this and this.'”[12]

Although the settlement was also a meeting place for unpopular groups from the neighborhood, there was no thought that a neighbor who was active in the Hull-House Womanโ€™s Club, or the menโ€™s political group should take a place on the board of trustees.  In fact, the trustees did not include neighborhood people until 1943 when Alex Elson, now a young lawyer who had grown up in the neighborhood and participated in Hull-House as a youngster and then as a young adult in the dramatic clubs, was selected by the board of trustees.[13]

Hull-House had gained its reputation in large part as an interpreter of the immigrant urban experience from that neighborhood. By the late 1920s Mexicans had moved into the Hull-House neighborhood and, more problematic to the Eurocentric programs of Hull-House, African Americans from the South were finding their way to the Maxwell Street neighborhood, an area south and east of Hull-House that had once been the home for Jewish immigrants.  These demographic and economic changes were reshaping Chicago and other American cities and the settlement houses that had been situated in European immigrant communities. Few settlements began, as Lea Taylor of the Chicago Commons put it,  โ€œto take stock of the workโ€ to determine whether they were meeting the needs of the neighborhood and โ€œwhether much more should not some how be done to get more of neighborsโ€™ participation in meeting community problems, as well as in helping in the work of the settlement.โ€[14]  Hull-House, ironically the leader of the settlement movement in the 1890s, had not taken stock of its role in the neighborhood, or looked introspectively at its programs or goals until the arrival of Charlotte Carr in 1937.  A New Deal liberal with close ties to organized labor, Carr immediately initiated more community-based programs. Hull-House trustee William Deknatel suggested that Carrโ€™s problems would soon be solved because โ€œthe neighborhood was disappearingโ€ and the settlement should re-think its relationship to local projects. 

Addams had demonstrated a similar attitude in the 1930s when she encouraged the City of Chicago to locate a municipal airport north of Hull-House in the Harrison-Halsted area, the heart of the Greek community, as a development stimulus. She had also negotiated the sale of the property owned by the Chicago Hebrew Institute on Taylor Street for the public housing project that would bear her name. She, along with Edith Abbott and Harold Ickes had advocated slum clearance and public housing as the solution to the tenement problem in the old Hull-House neighborhood. The commitment to the neighborhood as a place of meaning that had value and should be conserved was never the settlementโ€™s or Jane Addamsโ€™s agenda.  The cultivation of โ€œneighborlinessโ€ not the neighborhood was its goal.


[1] Ellen Gates Starr to Mary Houghton Starr Blaisdell, 18 and 22 May 1890, Ellen Gates Starr Papers, Sophia Smith Collection, Smith College, Northampton, Massachusetts. The young capitalist referred to is George Ward Springer ย born 14 Dec 1868 in Abingdon, Illinois; attended Northwestern University Academy; got a B.S. Northwestern University in 1890; in real estate business for himself in 1902; Republican; Episcopalian; village trustee Wilmette, Illinois 1897-98; village president 1900-02. The Book of Chicagoans (1911), vol. 2, 636; Alumni Record, College of Liberal Arts, Northwestern University 1903, p. 212.

[2] “Jane Club’s New Home,” Chicago Daily News, April 2, 1898, 1.

[3] Edward L. Burch quoted in “School Center History in Chicago,” 292.

[4] Womenโ€™s Trade Union League Quits Holding Meetings at Hull-House. Pick Federation Hall instead; Jane Addams absent from the meeting during hot discussion of question. โ€œBowen hall, Hull house, was tabooed by vote yesterday, after a spirited discussion at a meeting of the Womenโ€™s Trade Union League of Chicago. It was the first meeting of the league in the hall of the Chicago Federation of Labor, 275 La Salle street, and the discussion was precipitated over the question of coming out โ€˜flat footedlyโ€™ for trades unionism and the โ€˜labor atmosphereโ€™ as against artistic surroundings in Bowen hall, formerly the meeting place of the league.

โ€œAfter nearly all the โ€˜prominentโ€™ members had had their say about the proposition to move from Bowen hall, the โ€˜labor atmosphereโ€™ won by a heavy majority. Miss Jane Addams, who is a member of the league, and was a constant attendant at the meetings in Bowen hall, was โ€˜visibly absent.โ€™โ€

โ€œNothing was brought out in the debate to indicate a breach had occurred between Mrs. Raymond Robins, president of the league, and Miss Jane Addams over the latterโ€™s attitude toward the formerโ€™s husband on, say, school board questions. An undercurrent of thought among the women, however, drifted strongly in that direction.[Note that Jane Addams had voted against the appointment of a superintendent who favored teachersโ€™ unionism, the position of Margaret Haley, and was roundly criticized by Haley and her supporters & those in the labor movement who favored unionization of teachers along the lines of the Chicago Federation of Labor. Raymond Robins had supported the pro-labor union superintendent candidate favored by Haley.]

โ€œโ€™O,ย  no. Our relations with Hull-house have been so lovely. We really regret the necessity to leave Bowen hall.โ€™ These were the sentiments expressed by both Mrs. Robins and Mrs. Corinne Brown, who made the motion to โ€˜move from Bowen hall to Federation hall, as a permanent meeting place.โ€™โ€

โ€œThe question of meeting place came up after a constitution and platform for the league were adopted.ย  Mrs. Corinne Brown was the first to gain the floor.

โ€œโ€™I favor federation hall for the reason that here we will feel at home, while in Bowen hall we have been under restraint,โ€™ said Mrs. Brown. โ€˜Here we can speak freely.โ€™โ€

โ€œThis brought Miss Mary McDowell to her feet instantly with a protest against Mrs. Brownโ€™s utterances.

โ€œโ€™I must take exception to Mrs. Brownโ€™s statement that we have been under restraint at Hull house,โ€™ said she. โ€˜I am sure we have been as free to express ourselves in Bowen hall as anywhere.โ€™โ€

โ€œโ€™Well, I didnโ€™t mean that any one restrained us there,โ€™ Mrs. Brown hastened to explain.

โ€œโ€™What I meant was that we were under the natural restraint of being guests and not as free as in our own home.โ€™โ€

โ€œMrs. Robins felt it was time to explain. She said the object of moving from Hull house was to come in closer touch with the labor movement and that an option had been obtained on Federation hall.

โ€œโ€™I object to leaving Hull house because I believe we are going to limit our usefulness by meeting in Federation hall,โ€™ said Mrs. Harriet Van derVaart. โ€˜We will be looked upon simply as another labor movement.โ€™

โ€œโ€™I favor Bowen hall because this place is known as a union headquarters, and many girls will be afraid to come here for fear their employers will learn of it,โ€™ said Miss Anna Nicholes.

โ€œโ€™Federation hall suits me,โ€™ said Miss Agnes Nestor. โ€˜The surroundings are more beautiful in Bowen hall, but the Halsted street car service is awful.โ€™

โ€œAt this point Mrs. Louis F. Post arose and said: โ€˜I believe now that this league is the real thing.โ€™โ€

โ€œโ€™This league has always been the <real thing,>โ€™ Miss McDowell fired back.ย ย ย ย ย ย  โ€œMiss McDowell wanted the question postponed a month, but Mrs. Robins decided immediate action was imperative and a vote was taken by ballot. It stood 51 to 20 in favor of โ€˜closer touch with labor.โ€™โ€ [โ€œLeague of Women Quits Hull House,โ€ Chicago Tribune, Feb. 10, 1908, pg. 3.]

[5] Harold L. Ickes to JA, Washington, D.C., Dec. 27, 1933, Swarthmore College Peace Collection Jane Addams Papers Series 1 in JAP microfilm Reel 25-0598.

[6] Ibid.

[7] Jane Addams, “The Housing Problem in Chicago,” Annals of the American Academy of Political and Social Science, Vol. 20 (July 1902), 99-100.

[8] โ€œMiss Addams Gives Views on Chicago Gang Disorders.โ€ The Sun, Baltimore, Jan. 18, 1932, pg. 12.

[9] Jane Addams to West Side Sportsman’s Athletic Association, Chicago, Dec. 4, 1931, University of Illinois at Chicago Circle Jane Addams Memorial Collection Hull-House Association Records, in JAP reel 22-1305; William John Granata to Jane Addams, Chicago [Granata & Euzzino Attorneys at Law, 650 South Halsted Street], Jan. 11, 1932, in JAP reel 23-0558-0559; Jane Addams to My dear “Greek,” [William John Granata]  drafts, January 15, 1932, Baltimore, JAP reel 23-0554-0557; [Greek ]Wm John Granata to Jane Addams, Chicago, Jan. 11, 1932, in JAP reel 23-0560.

[10] Rima Lunin Schultz, “Introduction,” Hull-House Maps & Papers. A Presentation of Nationalities and Wages in a Congested District of Chicago, together with Comments and Essays on Problems growing out of the Social Conditions. By Residents of Hull-House (Chicago & Urbana: University of Illinois Press, 2007; reprint of 1895 edition), 1-2; 5, 18, 33-34.

[11] Elizabeth Palmer Carrell, “Reflections in a Mirror: The Progressive Woman and the Settlement Experience,” Ph.D. dissertation, The University of Texas at Austin, 1981, 30.

[12] “Chicago’s Hull House.” Report on an Address by Ellen Starr, 1895, Hull-House Scrapbook, III, JAMC, Spec. Col. Daley Library, UIC.

[13] Alex Elson Oral Interview transcript, OH-074 [interviewed by Stuart J. Hecht] October 12, 1980, 13, Spec. Coll. Daley Library, UIC.

[14] Minutes, June 7, 1924, Folder 2350, Graham Taylor Papers, Midwest Manuscript Collection, The Newberry Library.

Quit Clowning Around

Charles Cramer, alias Conway, the clown with a wooden leg, in a postcard photo with his wife, circa 1911 (Mysterious Chicago)
Charles Cramer, alias Conway, the clown
with a wooden leg, in a postcard photo with his
wife, circa 1911 (Mysterious Chicago)

“Clowns Gathering in the Woods,” blares CNN. “Creepy Clowns: Serious Matter or Sick Joke,” asks The Guardian. It all started in South Carolina, where groups of children swore that clowns, lurking in the shadowy woods, and attempted to lure them to an abandoned house deep within the forest. Police could not find any clown paraphernalia at the scene, but that did not stop another group of children from seeing a shady clown just one week later on the other side of town. Once again, police could not find any hard evidence of red noses, water-squirting flowers, or tiny cars that can somehow fit ten people inside.

Americans chuckled to themselves, “Oh those South Carolinians are too much!” Then the clowns went national. They started showing up all along the East coast, from Florida to Maine. Then, in some sort of clown-manifest-destiny, the clowns traveled West to Texas, Colorado, Utah, and eventually were found scaring fish and surfers in California. It is not known if any clowns have swam across the Pacific to haunt Hawaii.

Scary clowns are not unique to the fall of 2016. Oh no. As I was reading through old newspapers from 1912 Chicago in an attempt to find out more information about a specific correspondent, I stumbled across an incredible byline on the adjacent page. It was about a murderous clown, living in Chicago not far from Hull-House, where Jane Addamsย was busy toiling away, and his vaudeville singer wife who plotted the downfall of their wealthy roommate.

In early October, 1912, a Baltimore heiress named Sophie Singer came to Chicago with her fiance, Will Worthen. They were met at the station by a โ€œMrs. Conwayโ€ who suggested that they all get a flat together instead of a hotel. โ€œMrs. Conwayโ€ was really Mrs. Louisa Cramer, wife of Charles N. Cramer (alias Charles Kramer, alias Charles Conway). The couple was part of a traveling circus, he as a human cannonball and a clown, and she as a singer and a lion tamer. Oh, and he had a wooden leg, too.

The three moved in together, and were shortly joined by Mr. Cramer. The Cramers, under the alias of the Conways, were dirt poor and only lived off the wealth of their heiress roommate and her well-to-do fiance. All was well until Ms. Singer decided that she would move back to Baltimore, leaving the Conways with no well of money to draw from. This did not sit well with the carny couple, and one night while Mr. Worthen was away gambling, the one legged clown made his move.

Worthen came back to find the key-hole stuffed. Breaking down the door, he found Sophieโ€™s tangled legs sticking out from under their bed. She had clearly been strangled to death; her hands were tied with thin wire and Cramerโ€™s handkerchief was shoved so deep into her throat that police needed pincers to remove it. Her jewelry had been stolen.

sophiesingerphotoheadline
A sketch of Sophie Singer, Beatrice Conway, and Charles Conway (1912)

Several months later the Cramers were caught in Lima, Ohio. Mrs. Cramer quickly confessed and threw her husband under the bus as well. Charles would eventually confess as well, though he insisted that his wife had nothing to do with the murder.

During the arrest and subsequent trial Cramer the Clown decided to lighten things up with a couple jokes. โ€œSay, Captain?โ€ he asked during the trial. โ€œDo you know that in this case you canโ€™t hang a man with a wooden leg?โ€ When the Captain said heโ€™d never heard of a law like that, Cramer said โ€œYou have to use a rope!โ€ Ba Dum Cha!

Charles was sentenced to life in prison, and only narrowly avoided the gallows. As he was led away, he vowed that he would โ€œget out of this,โ€ and twelve years later he made good on his promise. In 1925, despite his assumed lack of running ability owed to that wooden stump on his left side, Cramer ran away from a work farm in Joliet, Illinois. He was never seen or heard from again.

The next time you hear about a clown sighting in your neighborhood, you may want to exercise extra caution. Who knows? Maybe its Conway the Clown, 100 years old and still chasing people with his stump leg.

— Robert Piper, Editorial Assistant

The “Real” and the “Imagined” Neighborhood: The Hull-House Maps and the Progressive Narrative of Urbanism

This post was given by Rima Lunin Schultz at the Urban History Association Eighth Biennial Conference, on October 13-16, 2016.

Urban historians have been rethinking the relationship between urban space and religion in late nineteenth-century cities.[1] The work of Jane Addams and her fellow reformers at Hull-House, visualized in the 1895 Hull-House nationalities and wages maps[2], has cast a long shadow over scholarsโ€™ understanding of urban immigrant neighborhoods. The maps began a trend that identified maladjustment and pathology in these neighborhoods.[3] In selecting the thirty or so blocks east of Halsted Street to make the best “worst” case of bad housing and sweatshop conditions during their anti-sweatshop political campaign, Hull-House residents, with the leadership of Jane Addams and Florence Kelley, shaped the neighborhood in a lasting way in the public mind. Ironically, those unmapped blocks in the vicinity of Hull-House (including the settlement itself) ย which had better housing and cultural and religious institutions of value, were also “imagined” as a slum area and, eventually, deemed suitable for land clearance projects.

By the time that Hull-House resident Edith Abbott, now dean of the School of Social Work Administration at the University of Chicago, completed Tenements of Chicago 1908-1935, ย the images of the Near West Side slums had become iconic.[4]ย  In this narrative, workers were not seen as community builders; working-class homeownership, if noted, ย was seen as a trap, an illusion of progress.

The intellect driving the maps and papers project was Florence Kelley, who had become a socialist during her graduate studies in Europe, and had worked with Frederick Engels in England, absorbing his methods ofย  using government statistics. She was prepared to study Chicago’s sweatshops and factories.[5] As State Factory Inspector, Kelley and her assistants were already collecting data on tenements when in 1893 she was asked by Carroll D. Wright, Commissioner of Labor and statistician, to select the local area to be canvassed by census men for a federal study of slums in Chicago, Baltimore, New York, and Philadelphia.[6] Kelley was influenced by Charles Booth’s maps of poverty in London; she saw the opportunity to use the data from the canvass to create maps that would dramatically demonstrate sweatshop workers’ deplorable conditions.[7]ย 

The thirty or so blocks selected were on the east sideย  of ย the Nineteenth Ward. For many, this was the Holy Family parish, settled by Catholics before the Civil War. ย In 1893 it was one of the largest Irish Catholic parishes in the United States. Hull-House, founded in 1889, was a scrappy newcomer to the neighborhood, its institutional footprint puny in comparison to the Catholic streetscape.[8] In 1893, twelve Catholic schools existed in the Hull-House neighborhood.[9]

Addams’s Protestant mindset ย imagined ย immigrants “mov[ing] constantly from one wretched lodging to another;” as she told the Chicago Women’s Club, “they live for the moment side by side, many of them without knowledge of each other, without fellowship, without local tradition, or public spirit; without social organization of any kind.โ€[10]

The maps, (and the major papers in the volume) by focusing on the ย sweatshop conditions of that one segment of the economy, ignored how local people actually defined where they lived, who they were, what they owned. Addams, in her preface, ย and Agnes Holbrook, who worked with the data to construct the maps and wrote the notes and comments for the maps, ย know how inadequate the representations are and they stress the transitory quality. It is a snapshot of a moment, captured in one dimension, and it is just a piece of a much more complex social fabric.ย ย 

The religious factor actually loomed large in the consciousness of Progressive reformers who were overwhelmingly Protestant.ย  Urban historians in neglecting the religious factor have ignored the anti-Catholic bias in the Hull-House maps. Implicit in the nationalities map is anxiety about the Catholic presence in the neighborhood.ย  The nationalities mapped are actually classes or categories constructed from a “mental map” about race, religion, ย and ethnicity.[11]

Briefly, the color white represents English-speaking people, including English, English-Canadians, Scotch, all Americans of native parentage, and children born in this country of foreign parents who were over ten years of age, or, if younger, were in attendance in public schools.[12] Children under the age of ten of foreign parents who attended parochial schools were still aggregated as foreign. This reflected the Progressive Era’s anxiety about the influence of Catholicism in the formation of new citizens and ย the use of foreign languages in some parochial schools.[13]

Two other English speaking groups were placed in separate categories: “Negroes”[14] and the Irish (green) ย “form[ing] so distinct and important an element in our politics and civic life that a separate representation has been accorded them.”[15] The Hull-House political battles against the ward boss had already begun.[16] Imagine if the Irish and their children in parochial schools were “white” in the maps—-the neighborhood would not seem so “foreign.” Were Italians “white” on arrival? Could Irish Catholics assimilate into American culture even after many generations of citizenship in this country?

The wages map, covers the same blocks; the colors now indicate income by dwelling place.[17] The largest class in the district was colored blue and represented families earning from $5 to $10 a week, or in today’s equivalency, $125 to $250 a week. 

The papers argue against blaming the victims of economic inequality and social injustice for their deplorable living conditions, instead portray them as hard working[18] underestimate the private associational strength of immigrants, and do not include a chapter on the Irish and Holy Family parish, the heart of the community.[19]ย 

Had the project mapped the west side of the Nineteenth Ward, starting with the block where the settlement house was located (yes, the settlement does not get “mapped”) the narrative would have been dramatically different showing a more “mixed” neighborhood economically, with prosperous sections and brick residences, prosperous shops owned by immigrants, and lots of parochial schools and churches.

Even the east side, the area mapped, was not all of one piece. ย Italian families who lived in this congested “slum” did not describe it that way. The Tarsitano Italian family did not feel “poor” or characterize their living conditions as substandard. Three generations remained in the old neighborhood. In 1901 Leopoldo Tarsitano had settled in the east end around the Italian parish of Holy Guardian Angel. The Tarsitano family lived for several years in a flat and Leopoldo worked as a grocery cart peddler but by 1907 the family had saved enough money to buy their own two-story store front brick home located just west ofย  Holy Guardian Angel Church, which was at 717 Forquer. Located east of Halsted Street, the church and school were in the area “mapped” as one of the worst industrial districts in Chicago. The Tarsitano store was on the first floor with the family living in the upper levels.ย 

The Tarsitano children and grandchildren all participated in the cultural and recreational opportunities offered by Hull-House and were devotees of the summer camp in Waukegan. They attended church and parish school and, ย all of Leopoldo’s four granddaughters attended St. Mary High School in the vicinity. One became a physician, after graduating from Mundelein, the Catholic women’s college run by the Sisters of Charity Blessed Virgin Mary (BVMs),ย  and Loyola University Medical School; two became school teachers, graduating from Northern Illinois University;ย  and another sister married and had children. Two of Leopold’s grandsons attended St. Ignatius Jesuit High School and Our Lady of Pompeii High School, the former attending the University of Illinois briefly and ending up with a business career at the managerial level; the latter graduated from Loyola University, did graduate work at De Paul and at the University of Nebraska and became a political science professor at the College of Du Page.[20]ย 

The Italians in the Holy Guardian Angel parish were a stable, hard working people. They built the working class church of brick–more squat than tall. By 1910 its Sunday School claimed to be “one of the largest in the world”ย  and in 1920 the congregation raised money for a new school building. ย Finding themselves located in the path of the Dan Ryan Expressway, in 1959 the old parish planned a new combination church and school structure at 860 West Cabrini, near Hull-House. The neighborhood was in a state of flux, but the parishioners had received assurances from the Mayor’s office as well as the chancery of the Archdiocese of Chicago that they had moved to a safe block that would not be part of any urban renewal plan.ย  Urban politics in Chicago is not known for transparency or integrity. Hardly “settled in,” the new school and convent was demolished in 1963 to make way for the University of Illinois.

My argument here is that an unexpected outcome of the housing surveys was the conceptualization ofย  working-class neighborhoods as one-dimensional places. The Tarsitano narrative is one of many similar stories of immigrant entrepreneurship, property ownership, intergenerational progress, and communal investments building neighborhoods ofย  rich religious infrastructures.

There were plenty of problems in the Forquer and Halsted environs, including poverty and crime. Housing varied. The “imagined” neighborhood of the Protestant lady reformers” of good character” as community activist Florence Scala’s mother defined them[21], ย however, had made slum images iconic and had relegated the communal and social life of Forquer Street off of the map.[22]ย  Florence Scala led the fight to save her neighborhood. As her nephew Father Steve Giovangelo explained: “Churches and Hull House co-existed and were at the center of social life.”

A remarkable, but missed opportunity, of Edith Abbott’s work was her use of parish histories for data and her acknowledgement thatย  “these parochial histories provide some interesting and neglected source materials for the study of the social history of our American cities.[23] My research, and that of others in the field, aims to bring the religious factor back in: This Da Prato map of Chicago clearly identifies the religious factor in urban life as ubiquitous.ย 


[1] Maureen Fitzgerald, Habits of Compassion: Irish Catholic Nuns and the Origins of New York’s Welfare System, 1830-1920 (Urbana: University of Illinois Press, 2006); Suellen Hoy, Good Hearts: Catholic Sisters in Chicago’s Past (Urbana: University of Illinois Press, 2006); Ellen Skerrett, Born in Chicago: A History of Chicago’s Jesuit University (Chicago: Loyola Press, 2002);ย  Rima Lunin Schultz and Ellen Skerrett, “‘Sister Builders’ in Chicago,” American Catholic Studies Newsletter, Vol. 42, Number 1 (Spring 2015). ย ย 

[2] The Residents of Hull-House, Hull-House Maps and Papers. A Presentation of Nationalities and Wages in a Congested District of Chicago, Together with Comments and Essays on Problems Growing Out of the Social Conditions. Introduction by Rima Lunin Schultz (Urbana: University of Illinois Press, 2007; facsimile reprint 1895 edition). The maps reflect data gathered by government men in April 1893.ย  There are 10 essays, and an appendix that describes Hull-House and its work, and includes photographs of Hull-House’s exterior and interior space. There are no photographs or illustrations of the neighborhood. Five of the essays are about sweatshops, garment workers, and the state of public charity;ย  three describe the Italians; the Jews; and the Bohemians respectively;ย  Ellen Gates Starr and Jane Addams, co-founders in 1889, describe their ideas about art and labor, and the settlement house as a factor in the labor movement in two separate essays.

[3] Florence Kelley and Alzina Parsons Stevens contributed “Wage-earning Children” in Hull-House Maps and Papers which includes charts of the measurements of defective Chicago factory-children that were made by Dr. Bayard Holmes, from measurements taken in 1893-94, in the office of Florence Kelley, State Factory Inspector of Illinois, 87-88.

[4] Edith Abbott, The Tenements of Chicago. 1908-1935 (Chicago: University of Chicago Press, 1936), ix-x.

[5] Kathryn Kish Sklar, Florence Kelley and the Nation’s Work (New Haven & London: Yale University Press, 1995), 102-03.

[6] Carroll D. Wright, “Introduction,” in Wright, The Slums of Baltimore, Chicago, New York, and Philadelphia (1894 reprint, New York: Arno Press, 1970) explains the federally funded projects. Four government men came to Chicago and conducted the door-to-door canvass supplied by Wright; Kelley selected the blocks to be surveyed.ย 

[7]The area selected to be “mapped” is located across the street from the Hull-House settlement– between Harrison on the north and Roosevelt Road (12th Street) on the south; from the east side of Halsted on the west, to the south Loop–the area around Clark Street and Plymouth Court. It is an area of residences–cottages, tenements, two-and-four-flats–, factories, warehouses, railroad yards, stores, and brothels.  Most of the people lived in various grades of housing in about thirty small blocks between Halsted and the river. East of the river the five residential blocks, crowded with people of color, were adjacent to the vice or brothel district.

[8]  โ€œThe Little Sisters of the Poor,โ€ Chicago Times (August 26, 1877): 8. Ironically, the first old age home run by the Little Sisters was in Charles Hull’s residence. The Hull family had moved out of the neighborhood during the Civil War period. The Little Sisters outgrew the Hull house soon after and moved to as larger institutional location they had built on Harrison Street, still in the neighborhood.

[9] Historian Ellen Skerrett documents twelve Catholic schools in the Hull-House neighborhood in 1892: Convent Academy of the Sacred Heart, opened fall 1860, 485 [1258] W. Taylor Street ; A free school at the northwest corner of Taylor and Lytle streets for girls of Holy Family parish, 1860; additional buildings for the Sacred Heart Academy complex wereย  constructed in 1864 and 1886; Holy Family Boys School, new building at 462 [approx. 1231] S. Morgan Street] opened 1865; St. Ignatius College, 413 [1076] W. 12th Street [Roosevelt Road]ย  opened 1870 (also enrolled young boys);St. Aloysius School, new building at 210 [631] W. Maxwell Streetย  opened 1870; Holy Guardian Angel School, 168 [ 711] W.ย  Forquer Street [Arthington Street]ย  opened 1874;St. Joseph School, on W. 13th Street near Loomis Street [1413 W. 13th Street]ย ย  opened 1876 ;St. Agnes School, 530 [approx. 1361] S. Morgan Streetย  opened 1887; Ephpheta School for the Deaf, 409 [1100] S. May Street in operation by 1890 (see attached Tribune article on Eliza Allen Starr, March 16, 1890);St. Francis of Assisi School, new building at southwest corner of 12th and Newberry Avenueย  opened 1884 ;Notre Dame [French] School, new building at Oregon [Flournoy] and Sibley Street [approx. 1338 W. Flournoy] opened 1885; St. Wenceslaus [Bohemian] School, new building at 185 [710] W. DeKoven Street opened in 1893. Sources: โ€œProvince of Chicago,โ€ [1890 statistics compiled on the Archdiocese of Chicago], in James J. McGovern, Souvenir of the Silver Jubilee in the Episcopacy of His Grace The Most Rev. Patrick Augustine Feehan, Archbishop of Chicago, 1890 (Privately printed, 1891), 242-253; Brother Thomas M. Mulkerins, S.J., Holy Family Parish Chicago: Priests and People, ed. Joseph J. Thompson (Chicago: Universal Press, 1923); Rev. Msgr. Harry C. Koenig, ed., A History of the Parishes of the Archdiocese of Chicago 2 vols. (Chicago: the Archdiocese of Chicago, 1980).

[10] โ€œThey move constantly from one wretched lodging to another; they live for the moment side by side, many of them without knowledge of each other, without fellowship, without local tradition, or public spirit; without social organization of any kind.โ€ [46-0481] And she also repeats that โ€œ[p]ractically nothing is done to remedy this.โ€ [46-0481]She calls on those who have the โ€œsocial tact and training, the large houses and traditions of custom and hospitality [who] live in other parts of the cityโ€ to stop the โ€œfatal drifting apartโ€ another phrase that is going to be repeated. Jane Addams, โ€œOutgrowths of Toynbee Hall,โ€ December 3, 1891, [address delivered to the Chicago Womanโ€™s Club], in JAMC (reel 46-0480-0496), Special Collections, Daley Library, UIC.

 

[12] Holbrook explains that “it would be misleading to include children under ten years living in a foreign colony, not in attendance upon schools where English is sure to be used, speaking a foreign language, and, although born in this country, ignorant of American life, manners, people, and of the English tongue.” Ibid., 15.

[13] “It would be misleading,” Holbrook writes, “to include children under ten years of age living in a foreign colony, not in attendance upon schools where English is sure to be used, speaking a foreign language, and, although born in this country, ignorant of American life, manners, people, and of the English tongue.” Holbrook, “Map Notes and Comments,” 15.

[14] Ibid., 16-17.

[15] Holbrook, “Map Notes and Comments,” 16.

[16] Jane Addams’s experiences at the local ward level first as garbage inspector and then as a leading voice opposing Alderman Powers in 1899-1898 were eye-opening; by 1900 Addams could critique the reformers as well as the ward politicians, seeing the issue of local politics in a more complex way than had been possible when she first encountered the “boss.” “Jane Addams Wears a Star: Appointed to the Force of Garbage Inspectors by Commissioner Kent,” Chicago Record (April 25, 1895), 6; Jane Addams to Henry Demarest Lloyd, December 22, 1895, State Historical Society of Wisconsin, Henry Demarest Lloyd Papers in JAMC (Reel 2-1829-1830), Special Collections, The University Library, UIC; “Two Women and A Manโ€”Jane Addams, Amanda Johnson and John Powers: Remarkable Results Achieved by Womanly Influence Against Overwhelming Odds in the Nineteenth Ward,” Chicago Times-Herald (January 30, 1898), 25; Jane Addams, “Why the Ward Boss Rules,” Outlook 58, no. 14 (April 2, 1898), 881-882.

[17] Six categories ranging from less than $5 a week to over $20 were depicted: most of the households fell in the $5 to $10 range (blue); the poorest category (black) represented an average weekly family income of $5 or less. In today’s dollars approximately, households $5 or less a week are making under $125 per week; households making from $5 to $10 per week were making from $125 to $250 dollars a week in todayโ€™s dollars. (formula is $1 = $25)

[18] Humpal-Zeman, โ€œThe Bohemians of Chicago,โ€ in HHM&P, 118.

[19]In โ€œHull House, Chicago: An Effort Toward Social Democracy,” Forum, October 1892, Jane Addams states that: โ€œThere are seven churches and two missions in the [Nineteenth] ward.ย  All of these are small and somewhat struggling, save the large Catholic church [Holy Family] connected with the Jesuit College [St. Ignatius] on the south boundary of the ward and the French Catholic church [Notre Dame de Chicago] on the west boundary.ย  There are but three out of these nine religious centres in which the service is habitually conducted in English.โ€ย  The fact that English is only spoken in three out of the nine religious institutions is particularly upsetting to Addams. Addams also ignores the twelve Catholic schools in the Nineteenth Ward already established by 1892. โ€œProvince of Chicago,โ€ [1890 statistics compiled on the Archdiocese of Chicago], in James J. McGovern, Souvenir of the Silver Jubilee in the Episcopacy of His Grace The Most Rev. Patrick Augustine Feehan, Archbishop of Chicago, 1890 (Privately printed, 1891), 242-253; Brother Thomas M. Mulkerins, S .J., Holy Family Parish Chicago: Priests and People, ed. Joseph J. Thompson (Chicago: Universal Press, 1923); Rev. Msgr. Harry C. Koenig, ed., A History of the Parishes of the Archdiocese of Chicago 2 vols. (Chicago: the Archdiocese of Chicago, 1980).ย 

[20] Rima Lunin Schultz, “Public School ‘Secularists’ vs. Women Religious: Competing Visions for Educating Catholic Immigrants in Jane Addams’s Progressive Era Chicago, 1890-1925,” chapter in Crossings and Dwellings, edited by Kyle Roberts and Steven Schloesser, (Netherlands: Brill Publishing, forthcoming 2016-17).

[21] Father Steven Giovangelo, “Memo to Rima Lunin Schultz,” June 30, 2013, in author’s possession.

[22] Edith Abbott, The Tenements of Chicago. 1908-1935 (Chicago: University of Chicago Press, 1936), ix-x.

[23] Edith Abbott, The Tenements of Chicago 1908-1935 (Chicago: University of Chicago Press, 1936), xi.

Jane Addamsโ€™s Dilemma: American Catholic Education in the Progressive Era, 1890-1925

Historian Carol Coburn’s keynote address Thursday eveningย  has deepened our understanding of the crucial role Catholic sisters have played in building and shaping Catholic culture and American life over the last 200 years. You donโ€™t have to look far for examples: right around the corner at the Loyola Museum of Art in the โ€œCrossings and Dwellingsโ€ exhibit is visual evidence of the contributions of the Religious of the Sacred Heart and the Sisters of Charity of the Blessed Virgin Mary (BVMs) to the social infrastructure of Chicago and to the development of an American Catholic middle class.ย  Many of the BVMs were immigrants themselves or the daughters of immigrants and they understood that Catholic schools could play a central role in shaping American democratic life. Their schools gained a reputation for excellence and grew steadily, enrolling more than 5,000 students in Chicago by the time of the 1893 Worldโ€™s Fair. At the turn of the 20th Century, BVMs were in the vanguard among American Catholic educators in planning high schools and colleges for the great industrial cities where working-class Catholic immigrants had settled. St. Mary High School on Chicago’s Near West Side, followed by The Immaculata on the city’s North Side, were modern central high schools where Catholic girls from across the metropolitan area were educated for academic, religious, and commercial careers.ย  The BVM vision of a comprehensive educational system for women took physical shape in 1930 with the opening of Mundelein College. Not only did the Art Deco skyscraper reflect a modern sensibilityโ€”with a curriculum to matchโ€”but the commuter college provided opportunities for a new generation of American-born Catholics.

In the last fifty years historians have documented the contributions of American women to the social, cultural, political, and economic life of the nation in the transformative years of nation-building at the turn of the 20th Century.ย  We now know that a robust womenโ€™s political culture existed decades before women won the vote and there is extensive scholarship describing and critiquing the contributions of women to the formation of the modern welfare state.ย  Jane Addams is one of the well-studied women in this great narrative of American women’s social history and while progress has been made, historians of gender and women’s history continue to grapple with the problem of integrating gender and women’s history into the master narrative.

To complicate our work, I want to introduce the problem of where American women’s Catholic history fits into American women’s history, and, implicitly, where it fits into the national narrative, a narrative that has been dominated for the past two hundred year or more, by the Protestant worldview and has been told largely through Protestant male voices. This morning I am using Jane Addams and her relationship to Catholics to examine this historiographic problem. Addams was a self-proclaimed democratic cosmopolitan who regarded her Hull-House settlement as a positive force to uplift her immigrant neighbors but, like many middle class Protestants, she regarded their neighborhood as a slum, devoid of the leadership necessary to form a higher life for men, women, and children. In London, the social settlement was a recent effort by an Anglican priest and his wife and a group of Oxford University graduates to overcome the widening gap between the people who ran English society and the masses who lived and worked separated from culture and privilege.ย  Addams regarded Toynbee Hall, and her own work, as an outgrowth of a humanitarian impulse in a new generation of educated Protestants who found the traditional approaches of their denominational churches inadequate to the problems of industrial life.ย  It was a kind of missionary endeavor of a new, non-sectarian sort. Addams understood that the English model didn’t fit the needs and conditions in American cities and one of the most obvious differences was that in Chicago, where she and Ellen Gates Starr โ€œsettledโ€ in 1889, the population was overwhelmingly immigrant and Catholic.

My revisionist work on Jane Addams and Hull-House has led me to reconsider the contributions of Catholic sisters and to question why Hull-House continues to be regarded as the norm against which Catholic institutions are compared.ย  Neither Addams nor historians writing about her acknowledge that Catholic parishes and schools functioned as social centers that performed many of the same functions as the settlement. On the whole, Addams scholars have not been terribly concerned that she interpreted urban problems without any reference to the parish system and the work of Catholic Sisters teaching in the Hull-House neighborhood. Far from critiquing Addamsโ€™ basic sociological views on the subject of Catholic immigrants and their adjustment to American life, the opposite has occurred. The trend in Addams scholarship has been to argue for her inclusion as a major American sociologist and as a pragmatic philosopher.

On the other hand there has been a new effort to understand the historiographic problem of the Protestant bias in the writing of American history, to which I applaud.ย  Until we are able to de-center the implicit Protestant hegemonic view of American history we will continue to have problems integrating new knowledge of Catholics in American history, and, more pointedly, we will continue to write the narrative of Addams and Hull-House without acknowledging the dilemma she had in her work with Catholics.

ย We must carefully distinguish Addams’s positive attitudes toward immigrants and her sympathetic concern for their rights and welfare from her attitudes about the serious issue of religious pluralism in democracy. Simply put, Addams loved the people but disliked and distrusted their churches, their priests, their schools and the Sister-teachers who ran them. When we study her evaluation of immigrants we have to understand this dimension of her deeply rooted world-view. ย 

The paradox of Addams’s thinking about her immigrant neighbors is most apparent in her agenda for the educational needs of foreign-born children and children born in the United States of immigrant parents. For Addams and other social feminists and progressive reformers the public schools were the only sure route to a harmonious and effective democracy. Immigrants and their children could be good citizens if they didn’t go to parochial schools. More than this, Addams and her colleagues called for reform of the public schools to address the special needs of these immigrant children.ย 

The Roman Catholic teaching sisters, the BVMs and the Jesuits who taught young men in St. Ignatius College, just a few blocks from Hull-House, believed they could establish a system of Catholic schools that would promote a wholesome Americanism as well as traditional Catholic religious values. They intended for their graduates to enrich the national civic life not imperil it.ย  They also had definite ideas about the kind of instruction and curriculum their students required.ย 

The Hull-House settlement and the Holy Family parish schools competed for control of the education of the neighborhood children. It was a political battle that was waged in the City Council, on the School Board of the Chicago Public Schools, at the State level where compulsory education legislation was debated, and “on the ground” in the competition in the neighborhoods for students.ย  It was self-conscious, on both sides. Jesuit priests begged the BVMs to open their schools in August before the public schools.ย  There was a rush to keep up with the Catholic student population and make certain no families were kept from placing their children in parochial schools. Public school policy was shaped in the context of this battle royal; Catholicsย  as a beleaguered minority shaped their American church identity and their individual identities in the heat of the discourse over the schools.

The debate over the role of the State in the education of children in a democracy that has many cultures, races, and ethnicities attending a variety of school systems was important at the turn of the 20th Century and continues to be important in the 21st Century. If we have time in the Q & A section this morning, it might be interesting to think about how inner-city Catholic schools are viewed in our present education crisis and how they were viewed about one hundred and twenty years ago! Today and yesterday the relationship of education to citizenship and to the stability and success of the economy and the social system elevates debates about pedagogy, social control, and curricula choices to the highest levels of social policy.

In the 19th and 20th centuries, non-Catholics saw the public schools as “good schools” and the parochial schools as “bad schools.”ย  This certainly was the attitude of Jane Addams and the reformers in the Hull-House circle.ย  This fits in with Tracy Fessenden’s interesting analysis of Protestantism and Catholicism in American culture and literature. ย Fessenden describes how anti-Catholic Protestants created a myth of good religion and bad religion that they masked with notions of secularism in public life. Good religion is associated with freedom and enlightenment, bad religion with coercion and constraint, and this scheme, Fessenden says, has become implicit in the “progress narrative of democracy.”[1] Now Catholics also had ideas about good and bad religion. This was the whole point about avoiding the public schools, which Catholics continued to believe were really a cover for protestantizing efforts. When Hull-House was accused by one of the principals at St. Mary High School as not being a “Christian institution,” this was really a statement about the settlement house’s anti-Catholic (and implicitly pro-Protestant) approach.

Most troubling to me as an historian is that Addams fails to give a fair accounting of the religious and educational institutions in the neighborhood after claiming that only through the experience of living in the neighborhood could educated Americans like herself uplift the people in these working class and immigrant districts. ย By 1892, twelve Catholic schools existed in the Hull-House neighborhood.[2] I have found no documentation that she approached these institutions, to which so many of the children and youth who participate in the settlement house, were enrolled, with any openness or interest even as she had pledged herself to engage with the common lot of people. The families in her neighborhood, including many who sent their children to Hull-House programs after school and in the summer, also enrolled their sons and daughters in the Catholic school system. Addams knew these children and could see their talents and their maturation, even with the influence of the religious sisters and the priests.ย  And the teaching sisters were well aware of the influence of Hull-House. The children knew there was a conflict.ย  Francine Tarsitano, a 1954 graduate of St. Mary High School, identified this tension when she recounted the disapproval her BVM teachers expressed when she came to school wearing a special Hull-House club jacket:

Well, we were called into the principalโ€™s office about these jackets.ย  โ€œWhere is this club? What is this club?โ€ย  โ€œThis is a Hull-House club.โ€ย  We were so proud to say that, that it was from Hull-House.ย  She said, โ€œYou cannot wear those jackets here.ย  And we advise you not to go to Hull-House anymore because it is not a Christian organization.โ€ย  So I went home and I told my mother and father that and they said, โ€œA Christian organization.ย  We never even thought of it as that.โ€ย  But you know, my father went to . . . [St. Mary’s]and said, โ€œTheyโ€™re going to Hull-House. She is going to Hull-House. Theyโ€™ve only done good things for our family.โ€ย  Well we were never allowed to wear the jackets anymore, that was it.ย  Couldnโ€™t wear it to St. Maryโ€™s. [3]

For Addams, who affixed a Chi-Rho Cross to her bodice, her work at Hull-House was religious[4]; yet by establishing her settlement as an independent association without ties to any religious organization, university, or other agency, and by not requiring religious worship or religious education, she set out to spread a Christian humanism that she envisioned as cosmopolitan and democratic, inclusive, and tolerant. ย In this way she envisioned Hull-House as a “cathedral of humanity,” a place where people of all religious persuasions could learn about each other and engage in a kind of civic or democratic fellowship. ย Did this mean that she resolved to exclude religious ideas from Hull-House?ย  Not really. In a letter to a college settlement colleague, Addams spoke candidly: “We find each year that it is more possible to discuss frankly religious problems and differences, because our neighbors have constantly less fear that we will proselyte them.”[5] Frannie Tarsitano’s father, the son of Italian immigrants, was comfortable sending his children to Hull-House where they had “done good things for the family.”ย 

The Hull-House approach to Catholic schools really begins before Addams located her new experiment in the Nineteenth Ward, otherwise known as Holy Family parish. She was already convinced that immigrants needed to attend public schools and was pleased when her new friend and guide to Italian neighborhoods, Alessandro Maestro Valerio, reported to her that he had in three months time “sent five hundred Italian children to [public] school.” [6] Addams shared Valerio’s goal to place as many Italian children in public schools as possible; he, like the liberal Protestant social feminists who worked with Addams on school reform, were saving children from the dangers of indoctrination in papal-controlled classrooms.ย  This fear by the hegemonic Protestant culture of Catholic indoctrination in the formation of new citizens was so strong that for the Hull-House residents, imbued with these ideas, children in the elementary parochial schools could not be counted as properly “schooled”; this is indicated in the famous Hull-House Maps & Papers volume published in 1895. Children of immigrants who attended parochial schools, even though they were born in the United States and most likely were English speaking, were counted in the Nationalities Maps along with their parents as foreigners.

The campaign for more public schools in the Nineteenth Ward was led by the Hull-House reformers who claimed that there were 5,000 children in need of seats in new classrooms and demanded the board of education begin construction immediately. This happened to be the exact number of children enrolled in the Catholic elementary schools taught by the Sisters of Charity of the Blessed Virgin Mary (BVMs).[7] ย In the Hull-House view, American born children of immigrants who had not been influenced by the public schools were more truly designated “second-generation immigrants than first- generation Americans.”[8]

In 1897, Jane Addams, addressing the influential National Educational Association (NEA) on the needs of foreign-born children, or the American-born children of immigrants, explained that their families had โ€œno social life in any structural form, and can supply none to the child.โ€[9] Addams is not making a derogatory comment about immigrants, who she asserts have very strong family values and love their children very much. Rather, she is expressing a sociological concept. For John Dewey, Chicago educator and superintendent of schools Ella Flagg Young, Addams and others in the progressive education movement, schools had to become social centers to supply the kind of guidance, training, and information that immigrant families were unable to provide.ย  What the Hull-House maps demonstrate is the lack of public schools in the thirty or so blocks most distressed. In fact, a larger project of the Hull-House education reformers was to develop a decent public school system which did not yet exist, although Addams and others felt justified in their claims of its inherent superiority.

When Addams and Starr arrived in the Nineteenth Ward, the public schools had quite a bit of catching up to do. ย Addams and Starr ultimately chose a location for their settlement house that placed it at the intersection of two Catholic neighborhoods: to the east of Halsted Street there were about thirty city blocks of Chicago-style tenements, filled with immigrants of many nationalities, but predominantly Roman Catholic and Italian; here in the river wards, industrial and commercial businesses had mushroomed after the Great Chicago Fire in 1871, and the housing stock accommodated increasing numbers of immigrant workers’ families. To the west (and including Hull-House itself) was a more prosperous neighborhood of more seasoned immigrants and of older residents, who Addams called “old settlers” and invited to the settlement house just as she invited the newcomers;ย  in America for many generations,ย  they had settled originally in the Near West Side when they, like Charles J. Hull, himself a real estate developer and evangelical Christian who built his homestead in 1856, imagined their homes would increase in value. Relatively undeveloped before the Civil War, this western edge of urban growth also attracted the Rev. Arnold J. Damen, S.J. who founded the Holy Family parish one year after Hull built his house. Addams coveted relationships with the neediest newest immigrants, the Italians, but the earliest efforts at Hull-House could not have gotten off the ground without the cooperation and engagement of the Irish Americans and “Old Settlers” who lived west of the settlement house. ย 

Addams tended to underestimate the private associational strength of the Nineteenth Ward as if the developments at her settlement had no antecedent or parallel institutions with which to have social intercourse. This was particularly true of the underestimating of the Catholic strength and contribution.[10]ย 

Had the Hull-House Maps & Papers project mapped the west side of the Nineteenth Ward, their narrative would have been dramatically different.ย  We are not talking about immense space, just four or five blocks south, north, or west of Halsted Street and Hull-House would have given the neighborhood a different cast; it would have appeared “mixed” economically, with prosperous sections and brick residences, prosperous shops owned by immigrants, and lots of parochial schools and churches. Even the east side, the area mapped, was not all of one piece.ย  Italian families who lived in this congested “slum” did not describe it that way. Francine Tarsitano, who told the story of her Hull-House jacket and the reaction of the BVM principal of St. Mary High School, was the youngest of a large Italian family.ย  In 1901, her grandfather Leopoldo Tarsitano had settled in the east end of the Nineteenth Ward, on a block in the densely populated blocks earlier depicted in the Hull-House Maps. Leopoldo had been in the Italian Calvary before coming to the U. S. With his wife Rosario and son Gabriel, the Tarsitano’s lived for several years in a flat and Leopoldo worked as a grocery cart peddler but by 1907 the family had saved enough money to buy their own two-story store front brick home located just west ofย  Holy Guardian Angel Church, an Italian parish. The store was on the first floor with the family living in the upper levels.ย  The Tarsitano’s children and grandchildren all participated in the cultural and recreational opportunities offered by Hull-House, and they were devotees of the summer camp in Waukegan, a place where the daughters and sons of immigrants had the taste of life outside the neighborhood. They all attended Holy Guardian Angel Church, the parish schools and all of Leopoldo’s four granddaughters attended St. Mary High School; one became a physician, after graduating from Mundelein and Loyola University Medical School; two became school teachers, graduating from Northern Illinois University; ย and another sister married and had children but did not work outside the home; two grandsons attended St. Ignatius Jesuit High School and Our Lady of Pompeii High School, the former attending the University of Illinois briefly and ending up with a business career at the managerial level; the latter graduated from Loyola University, did graduate work at De Paul and at the University of Nebraska and became a political science professor at the College of Du Page. ย 

One cannot judge whether the successes were mostly the result of the Hull-House connection or the extensive connection with Catholic schools. The more complete genealogy of the family indicates that the trends towards secularization in religion and society can be seen in the family as well as a lasting ethnic and culturally Catholic identity. There has been some intermarriage with non-Catholics and geographical mobility outside of the neighborhood, to be sure. There are also lasting remnants of the imprint of both Hull-House and the values of the teaching sisters.

The St. Mary High School experience was critically important for the Italian girls. They may not have fully understood how unique the experience was for the daughters of working class and immigrant families in the inner city.ย  St. Mary’s had already drawn attention to itself when by 1915 social feminist Ella Flagg Young, superintendent of Chicago’s public schools voiced her concerns that there was a disproportionate numbers of Catholic high school grads enrolled in the Chicago Normal School. They had done so well on the entrance exams that Young was quoted as accusing the Catholics of running “cramming schools” to inflate their numbers entering the teachers’ college. There was anxiety about having too many Catholics from the catholic system end up as public school teachers. The issue had been brewing for some time. ย As early as 1903, Chicago school boards had openly strategized to limit the numbers of Catholics entering the teaching profession.[11] Superintendent of Schools Young, testifying in 1915 before a state committee investigating the Chicago School Board, “proposed a quota system by which the board would assign to each high school, both public and private , a fixed number of places in the Normal School. The Catholic newspaper the New World saw this as one more bigoted effort to limit the number of Catholic teachers in the public schools.”[12]

Such a proposal and others that followed in subsequent years were not successful, but they had a bearing on the Catholic school culture and the responses made by administrators in the Catholic high schools. [13]

This is a crucial part of the Catholic narrative of education that, unfortunately, is often not known in Catholic circles either. What provoked the Progressive social feminists was the great progress made by the BVM-run St. Mary High School for Girls.ย  Located a stone’s throw from Hull-House, St. Mary High School was inaugurated at the height of the debate over urban education. ย Both the public system and the Catholic began the twentieth century with inadequate secondary institutions. At the turn of the century, when St. Mary’s was opened, secondary education remained an option for only a small segment of the population, whether Americanโ€‘born or immigrant. ย St. Mary High School immediately identified college and careers in education as the major goal for its students, many of whom were the daughters of Irish immigrant women who had worked as laundresses, seamstresses, and domestics.ย  BVM schools already had pioneered commercial programs for boys and girls in the 1890s,[14] so when commercial courses were introduced in 1902, they realistically prepared St. Mary’s students for the sector of the economy where jobs for women were expanding rapidly: the commercial office.ย  Courses in bookkeeping, typing, business arithmetic, and soon,ย  stenography, set the tone, with the goal for many graduates of attending a business college. [15]ย 

ย The young women also studied laboratory sciences including physics and chemistry, and biological sciences including botany, zoology, and physiology.ย  Music, drawing, manual training, and domestic science courses were also available.ย  Textbooks used were the standard ones assigned in the public schools.ย  Significantly, St. Mary’s was the first catholic girlโ€™s high school to offer advanced academic work in the form of college extension courses taught by the Jesuits.[16]

ย โ€œThe object of the social settlement,โ€™ Addams had outlined, โ€˜is the uplifting of the peopleโ€”the word people representing the working classesโ€”and this can best be accomplished by the poor acting as their own missionaries. No doubt the working people could be raised if they could be made to feel their power as citizens, because they are nearer to the needs of the poorest, while those who live in more comfortable parts of the town only hear of their needs remotely and know little practically about them.โ€[17] This statement by Addams paradoxically could have been written by the BVMs, simply changing “social settlements” to “Catholic schools.”ย  ย The BVM sister-teachers came from immigrant backgrounds, some were the first women in their families to achieve literacy. They were, indeed, “the poor acting as their own missionaries.” The young women who were educated at St. Mary High School included many who came from the thirty or so blocks east of Halsted Street, mapped by the Hull-House residents in 1895 and designated as a “slum” neighborhood.

In innumerable cases, neighborhood boys and girls of talent and potential found Hull-House to be a school of opportunity and refinement, a bridge out of the neighborhood. In delving into their backgrounds, however, one can draw this surprising conclusion: many of the best and brightest stars who, as one of them put it, “bit the apple” of the settlement ideology about civic engagement, had been educated in the American Catholic parochial system. The Hull-House neighbors did not make an “either/or” choice but as children and later as young adults, many immigrants and their children and grandchildren found ways to benefit from religious, family, and social settlement networks in ways that were not imagined by either the social reformers or the Catholic hierarchy.

More than most mainline Protestants, Addams challenged her own biases and consciously pursued an openness to her immigrant neighbors. She opposed immigration restriction, and upheld the rights of aliens, including their freedom to dissent and criticize the government. She insisted that Hull-House not proselytize its Jewish and Roman Catholic neighbors, and she took pride in the Greek plays, the Italian and German social get-togethers, and the exhibits of old-world arts and crafts displayed in the Hull-House Labor Museum.ย  She handled religious and cultural differences through the “performance” of religious pageantry without worship, religious art without prayer, and enactments of ethnic plays in the context of ethnically mixed audiences.[18]ย  But the heavy-duty lifting educationally in the neighborhood remained in the hands of Catholic women, the teaching Sisters whose recent flight from poverty and illiteracy in their crossings gave their commitment to educate Catholics an urgency and a wisdom as they prepared the poor to “be their own missionaries.”


[1] Tracy Fessenden, Culture and Redemption: Religion, the Secular, and American Literature. Princeton and Oxford: Princeton University Press, 2007, 3.

[2] Historian Ellen Skerrett documents twelve Catholic schools in the Hull-House neighborhood in 1892: Convent Academy of the Sacred Heart, opened fall 1860, 485 [1258] W. Taylor Street ; A free school at the northwest corner of Taylor and Lytle streets for girls of Holy Family parish, 1860; additional buildings for the Sacred Heart Academy complex were  constructed in 1864 and 1886; Holy Family Boys School, new building at 462 [approx. 1231] S. Morgan Street] opened 1865; St. Ignatius College, 413 [1076] W. 12th Street [Roosevelt Road]  opened 1870 (also enrolled young boys);St. Aloysius School, new building at 210 [631] W. Maxwell Street  opened 1870; Holy Guardian Angel School, 168 [ 711] W.  Forquer Street [Arthington Street]  opened 1874;St. Joseph School, on W. 13th Street near Loomis Street [1413 W. 13th Street]   opened 1876 ;St. Agnes School, 530 [approx. 1361] S. Morgan Street  opened 1887; Ephpheta School for the Deaf, 409 [1100] S. May Street in operation by 1890 (see attached Tribune article on Eliza Allen Starr, March 16, 1890);St. Francis of Assisi School, new building at southwest corner of 12th and Newberry Avenue  opened 1884;Notre Dame [French] School, new building at Oregon [Flournoy] and Sibley Street [approx. 1338 W. Flournoy] opened 1885;St. Wenceslaus [Bohemian] School, new building at 185 [710] W. DeKoven Street opened in 1893. Sources: โ€œProvince of Chicago,โ€ [1890 statistics compiled on the Archdiocese of Chicago], in James J. McGovern, Souvenir of the Silver Jubilee in the Episcopacy of His Grace The Most Rev. Patrick Augustine Feehan, Archbishop of Chicago, 1890 (Privately printed, 1891), 242-253; Brother Thomas M. Mulkerins, S.J., Holy Family Parish Chicago: Priests and People, ed. Joseph J. Thompson (Chicago: Universal Press, 1923); Rev. Msgr. Harry C. Koenig, ed., A History of the Parishes of the Archdiocese of Chicago 2 vols. (Chicago: the Archdiocese of Chicago, 1980).

[3] Francine Tarsitano Underdown Oral Interview Transcript OH-114, Hull-House Oral Interviews, Spec. Collections, Daley Library, University of Illinois at Chicago.

[4] The simple Chi-Rho Cross she prominently affixed to the collar of her dress can be seen in all the surviving photographs of Addams from the 1890s. It can be seen in the famous photo that has come to symbolize the determined young woman in her inaugural year as co-founder of Hull-House. The Chi-Rho Cross is visible in the 1892 charcoal drawing of Jane Addams by Alice Kellogg Tyler; it is in the famous portrait of Addams that appeared in New England Magazine, July 1898, in an article about Hull-House by Florence Kelley. It is visible in the portrait of Jane Addams that is on the cover of Victoria Bissell Brownโ€™s new edition of Twenty Years at Hull-House (1999) and in the majestic photo portrait of Jane Addams seated in an elaborate Victorian chair that graces the front cover of Allen F. Davisโ€™ American Heroine: The Life and Legend of Jane Addams reprinted in 2000. Preparing to open a settlement house, Addams compared her intentions with the goals of the College Settlement Association in New York City: “I will inclose [sic] the circular of a similar thing in New York,” she wrote her sister. “We are modest enough to think that ours is better, is more distinctively Christian, and less Social Science.”

 Jane Addams to Mary Catherine Addams Linn, March 13, 1889, Stephenson County Historical Society, in JAMC (reel 2-1043-1048), Special Collections, The University Library, The University of Illinois at Chicago.

[5] Jane Addams to Katherine Coman, Chicago, Dec. 7, 1891, JAP Microfilm Reel 2-1283.

[6] Jane Addams to Mary Catherine Addams Linn, March 13, 1889, Stephenson County Historical Society, in JAMC (reel 2-1043-1048), Special Collections, The University Library, The University of Illinois at Chicago.

[7] Rima Lunin Schultz, “Introduction,” 20, Hull-House Maps & Papers by the Residents of Hull-House (Urbana& Chicago: University of Illinois Press, 2007; reprint of original 1895 edition). 

[8] Hull-House Maps & Papers, 59.

[9] Jane Addams, โ€œForeign-Born Children in the Primary Grades,โ€ National Educational Association Journal of Proceeding and Addresses of the Thirty-Sixth Annual Meeting Held at Milwaukee, Wis., July 6-9, 1897 (University of Chicago Press, 1897), 106.

[10]In โ€œHull House, Chicago: An Effort Toward Social Democracy,”Forum, October 1892, Jane Addams states that: โ€œThere are seven churches and two missions in the [Nineteenth] ward.  All of these are small and somewhat struggling, save the large Catholic church [Holy Family] connected with the Jesuit College [St. Ignatius] on the south boundary of the ward and the French Catholic church [Notre Dame de Chicago] on the west boundary.  There are but three out of these nine religious centres in which the service is habitually conducted in English.โ€  The fact that English is only spoken in three out of the nine religious institutions is particularly upsetting to Addams. Addams also ignores the twelve Catholic schools in the Nineteenth Ward already established by 1892. โ€œProvince of Chicago,โ€ [1890 statistics compiled on the Archdiocese of Chicago], in James J. McGovern, Souvenir of the Silver Jubilee in the Episcopacy of His Grace The Most Rev. Patrick Augustine Feehan, Archbishop of Chicago, 1890 (Privately printed, 1891), 242-253; Brother Thomas M. Mulkerins, S.J., Holy Family Parish Chicago: Priests and People, ed. Joseph J. Thompson (Chicago: Universal Press, 1923); Rev. Msgr. Harry C. Koenig, ed., A History of the Parishes of the Archdiocese of Chicago 2 vols. (Chicago: the Archdiocese of Chicago, 1980).

[11] Sanders, 28.

[12] Sanders, 28.

[13] “Bishop Muldoon Denies Charges of Mrs. Young,” Chicago Tribune, Aug. 6, 1915, 13;  P. L. B[lakely], “High Winds in Chicago,” America, Vol. 13, No. 21, Sept. 4, 1915, 525-526. It is perfectly clear that the Roman Catholic hierarchy was in competition with public schools in Chicago and did not wish them “success”; rallying around a common enemy stirred up support among Catholics to support their own schools. It was a strange predicament, however, since graduates of Catholic schools found employment in public schools and this was used to defend Catholic education.

[14] Callan, “The Sisters of Charity of the Blessed Virgin Mary and Their Schools in Chicago, 1867-1940,” Master’s Thesis Paper 607, Loyola University Chicago, 1941, Loyola eCommons, 60, establishes that The BVMs had experimented successfully with commercial programs.

[15] William H. Chafe, The Paradox of Change: American Women in the 20th Century Oxford University Press, 1991, 68.

[16] St. Mary’s Herald, vol. I, no. 4, January 1931 includes historical material about the early years. St. Mary High School and Center for Learning papers, Richard J. Daley Library, Special Collections, University of Illinois at Chicago. The BVMs had experimented successfully with commercial programs earlier:

[17] โ€œOutlines A New Creed.โ€ Chicago Tribune, Nov. 7, 1898, pg. 10.

[18] The role of Hull-House theater โ€œin negotiating immigrant difference,โ€ as Shannon Jackson puts it, is too large a topic to discuss in this paper. See Stuart J. Hecht,  โ€œHull-House Theatre: An Analytical and Evaluative History,โ€ Ph.D. dissertation, Northwestern University, 1983; also: Elizabeth C. Barrows, โ€œThe Greek Play at Hull-House,โ€ Commons (January 1904); Shannon Jackson, Lines of Activity: Performance, Historiography, Hull-House Domesticity (University of Michigan Press, 2000.) Such performances could also be seen as Addams’s efforts to simulate a “cathedral of humanity.” Jenkin Lloyd Jones, Unitarian minister and ally of Addams, who often invited the settlement leader to lecture from his pulpit, called her โ€œthe unordained minister of the unecclesiastical church of human helpfulness that is to be.โ€  โ€œJenkin Lloyd Jones Memorial,โ€ Unity, vol. LXXXII, No. 12 (November 28, 1918), 148.

Jane Addamsโ€™s Dilemma: American Catholic Education in the Progressive Era, 1890-1925

Historian Carol Coburn’s keynote address Thursday evening  has deepened our understanding of the crucial role Catholic sisters have played in building and shaping Catholic culture and American life over the last 200 years. You donโ€™t have to look far for examples: right around the corner at the Loyola Museum of Art in the โ€œCrossings and Dwellingsโ€ exhibit is visual evidence of the contributions of the Religious of the Sacred Heart and the Sisters of Charity of the Blessed Virgin Mary (BVMs) to the social infrastructure of Chicago and to the development of an American Catholic middle class.  Many of the BVMs were immigrants themselves or the daughters of immigrants and they understood that Catholic schools could play a central role in shaping American democratic life. Their schools gained a reputation for excellence and grew steadily, enrolling more than 5,000 students in Chicago by the time of the 1893 Worldโ€™s Fair. At the turn of the 20th Century, BVMs were in the vanguard among American Catholic educators in planning high schools and colleges for the great industrial cities where working-class Catholic immigrants had settled. St. Mary High School on Chicago’s Near West Side, followed by The Immaculata on the city’s North Side, were modern central high schools where Catholic girls from across the metropolitan area were educated for academic, religious, and commercial careers.  The BVM vision of a comprehensive educational system for women took physical shape in 1930 with the opening of Mundelein College. Not only did the Art Deco skyscraper reflect a modern sensibilityโ€”with a curriculum to matchโ€”but the commuter college provided opportunities for a new generation of American-born Catholics.

In the last fifty years historians have documented the contributions of American women to the social, cultural, political, and economic life of the nation in the transformative years of nation-building at the turn of the 20th Century.  We now know that a robust womenโ€™s political culture existed decades before women won the vote and there is extensive scholarship describing and critiquing the contributions of women to the formation of the modern welfare state.  Jane Addams is one of the well-studied women in this great narrative of American women’s social history and while progress has been made, historians of gender and women’s history continue to grapple with the problem of integrating gender and women’s history into the master narrative.

To complicate our work, I want to introduce the problem of where American women’s Catholic history fits into American women’s history, and, implicitly, where it fits into the national narrative, a narrative that has been dominated for the past two hundred year or more, by the Protestant worldview and has been told largely through Protestant male voices. This morning I am using Jane Addams and her relationship to Catholics to examine this historiographic problem. Addams was a self-proclaimed democratic cosmopolitan who regarded her Hull-House settlement as a positive force to uplift her immigrant neighbors but, like many middle class Protestants, she regarded their neighborhood as a slum, devoid of the leadership necessary to form a higher life for men, women, and children. In London, the social settlement was a recent effort by an Anglican priest and his wife and a group of Oxford University graduates to overcome the widening gap between the people who ran English society and the masses who lived and worked separated from culture and privilege.  Addams regarded Toynbee Hall, and her own work, as an outgrowth of a humanitarian impulse in a new generation of educated Protestants who found the traditional approaches of their denominational churches inadequate to the problems of industrial life.  It was a kind of missionary endeavor of a new, non-sectarian sort. Addams understood that the English model didn’t fit the needs and conditions in American cities and one of the most obvious differences was that in Chicago, where she and Ellen Gates Starr โ€œsettledโ€ in 1889, the population was overwhelmingly immigrant and Catholic.

My revisionist work on Jane Addams and Hull-House has led me to reconsider the contributions of Catholic sisters and to question why Hull-House continues to be regarded as the norm against which Catholic institutions are compared.ย  Neither Addams nor historians writing about her acknowledge that Catholic parishes and schools functioned as social centers that performed many of the same functions as the settlement. On the whole, Addams scholars have not been terribly concerned that she interpreted urban problems without any reference to the parish system and the work of Catholic Sisters teaching in the Hull-House neighborhood. Far from critiquing Addamsโ€™ basic sociological views on the subject of Catholic immigrants and their adjustment to American life, the opposite has occurred. The trend in Addams scholarship has been to argue for her inclusion as a major American sociologist and as a pragmatic philosopher.

On the other hand there has been a new effort to understand the historiographic problem of the Protestant bias in the writing of American history, to which I applaud.ย  Until we are able to de-center the implicit Protestant hegemonic view of American history we will continue to have problems integrating new knowledge of Catholics in American history, and, more pointedly, we will continue to write the narrative of Addams and Hull-House without acknowledging the dilemma she had in her work with Catholics.

We must carefully distinguish Addams’s positive attitudes toward immigrants and her sympathetic concern for their rights and welfare from her attitudes about the serious issue of religious pluralism in democracy. Simply put, Addams loved the people but disliked and distrusted their churches, their priests, their schools and the Sister-teachers who ran them. When we study her evaluation of immigrants we have to understand this dimension of her deeply rooted world-view. ย 

The paradox of Addams’s thinking about her immigrant neighbors is most apparent in her agenda for the educational needs of foreign-born children and children born in the United States of immigrant parents. For Addams and other social feminists and progressive reformers the public schools were the only sure route to a harmonious and effective democracy. Immigrants and their children could be good citizens if they didn’t go to parochial schools. More than this, Addams and her colleagues called for reform of the public schools to address the special needs of these immigrant children.ย 

The Roman Catholic teaching sisters, the BVMs and the Jesuits who taught young men in St. Ignatius College, just a few blocks from Hull-House, believed they could establish a system of Catholic schools that would promote a wholesome Americanism as well as traditional Catholic religious values. They intended for their graduates to enrich the national civic life not imperil it.ย  They also had definite ideas about the kind of instruction and curriculum their students required.ย 

The Hull-House settlement and the Holy Family parish schools competed for control of the education of the neighborhood children. It was a political battle that was waged in the City Council, on the School Board of the Chicago Public Schools, at the State level where compulsory education legislation was debated, and “on the ground” in the competition in the neighborhoods for students.ย  It was self-conscious, on both sides. Jesuit priests begged the BVMs to open their schools in August before the public schools.ย  There was a rush to keep up with the Catholic student population and make certain no families were kept from placing their children in parochial schools. Public school policy was shaped in the context of this battle royal; Catholicsย  as a beleaguered minority shaped their American church identity and their individual identities in the heat of the discourse over the schools.

The debate over the role of the State in the education of children in a democracy that has many cultures, races, and ethnicities attending a variety of school systems was important at the turn of the 20th Century and continues to be important in the 21st Century. If we have time in the Q & A section this morning, it might be interesting to think about how inner-city Catholic schools are viewed in our present education crisis and how they were viewed about one hundred and twenty years ago! Today and yesterday the relationship of education to citizenship and to the stability and success of the economy and the social system elevates debates about pedagogy, social control, and curricula choices to the highest levels of social policy.

In the 19th and 20th centuries, non-Catholics saw the public schools as “good schools” and the parochial schools as “bad schools.”ย  This certainly was the attitude of Jane Addams and the reformers in the Hull-House circle.ย  This fits in with Tracy Fessenden’s interesting analysis of Protestantism and Catholicism in American culture and literature. ย Fessenden describes how anti-Catholic Protestants created a myth of good religion and bad religion that they masked with notions of secularism in public life. Good religion is associated with freedom and enlightenment, bad religion with coercion and constraint, and this scheme, Fessenden says, has become implicit in the “progress narrative of democracy.”[1] Now Catholics also had ideas about good and bad religion. This was the whole point about avoiding the public schools, which Catholics continued to believe were really a cover for protestantizing efforts. When Hull-House was accused by one of the principals at St. Mary High School as not being a “Christian institution,” this was really a statement about the settlement house’s anti-Catholic (and implicitly pro-Protestant) approach.

Most troubling to me as an historian is that Addams fails to give a fair accounting of the religious and educational institutions in the neighborhood after claiming that only through the experience of living in the neighborhood could educated Americans like herself uplift the people in these working class and immigrant districts. ย By 1892, twelve Catholic schools existed in the Hull-House neighborhood.[2] I have found no documentation that she approached these institutions, to which so many of the children and youth who participate in the settlement house, were enrolled, with any openness or interest even as she had pledged herself to engage with the common lot of people. The families in her neighborhood, including many who sent their children to Hull-House programs after school and in the summer, also enrolled their sons and daughters in the Catholic school system. Addams knew these children and could see their talents and their maturation, even with the influence of the religious sisters and the priests.ย  And the teaching sisters were well aware of the influence of Hull-House. The children knew there was a conflict.ย  Francine Tarsitano, a 1954 graduate of St. Mary High School, identified this tension when she recounted the disapproval her BVM teachers expressed when she came to school wearing a special Hull-House club jacket:

Well, we were called into the principalโ€™s office about these jackets.  โ€œWhere is this club? What is this club?โ€  โ€œThis is a Hull-House club.โ€  We were so proud to say that, that it was from Hull-House.  She said, โ€œYou cannot wear those jackets here.  And we advise you not to go to Hull-House anymore because it is not a Christian organization.โ€  So I went home and I told my mother and father that and they said, โ€œA Christian organization.  We never even thought of it as that.โ€  But you know, my father went to . . . [St. Mary’s]and said, โ€œTheyโ€™re going to Hull-House. She is going to Hull-House. Theyโ€™ve only done good things for our family.โ€  Well we were never allowed to wear the jackets anymore, that was it.  Couldnโ€™t wear it to St. Maryโ€™s. [3]

For Addams, who affixed a Chi-Rho Cross to her bodice, her work at Hull-House was religious[4]; yet by establishing her settlement as an independent association without ties to any religious organization, university, or other agency, and by not requiring religious worship or religious education, she set out to spread a Christian humanism that she envisioned as cosmopolitan and democratic, inclusive, and tolerant. ย In this way she envisioned Hull-House as a “cathedral of humanity,” a place where people of all religious persuasions could learn about each other and engage in a kind of civic or democratic fellowship. ย Did this mean that she resolved to exclude religious ideas from Hull-House?ย  Not really. In a letter to a college settlement colleague, Addams spoke candidly: “We find each year that it is more possible to discuss frankly religious problems and differences, because our neighbors have constantly less fear that we will proselyte them.”[5] Frannie Tarsitano’s father, the son of Italian immigrants, was comfortable sending his children to Hull-House where they had “done good things for the family.”ย 

The Hull-House approach to Catholic schools really begins before Addams located her new experiment in the Nineteenth Ward, otherwise known as Holy Family parish. She was already convinced that immigrants needed to attend public schools and was pleased when her new friend and guide to Italian neighborhoods, Alessandro Maestro Valerio, reported to her that he had in three months time “sent five hundred Italian children to [public] school.” [6] Addams shared Valerio’s goal to place as many Italian children in public schools as possible; he, like the liberal Protestant social feminists who worked with Addams on school reform, were saving children from the dangers of indoctrination in papal-controlled classrooms.ย  This fear by the hegemonic Protestant culture of Catholic indoctrination in the formation of new citizens was so strong that for the Hull-House residents, imbued with these ideas, children in the elementary parochial schools could not be counted as properly “schooled”; this is indicated in the famous Hull-House Maps & Papers volume published in 1895. Children of immigrants who attended parochial schools, even though they were born in the United States and most likely were English speaking, were counted in the Nationalities Maps along with their parents as foreigners.

The campaign for more public schools in the Nineteenth Ward was led by the Hull-House reformers who claimed that there were 5,000 children in need of seats in new classrooms and demanded the board of education begin construction immediately. This happened to be the exact number of children enrolled in the Catholic elementary schools taught by the Sisters of Charity of the Blessed Virgin Mary (BVMs).[7] ย In the Hull-House view, American born children of immigrants who had not been influenced by the public schools were more truly designated “second-generation immigrants than first- generation Americans.”[8]

In 1897, Jane Addams, addressing the influential National Educational Association (NEA) on the needs of foreign-born children, or the American-born children of immigrants, explained that their families had โ€œno social life in any structural form, and can supply none to the child.โ€[9] Addams is not making a derogatory comment about immigrants, who she asserts have very strong family values and love their children very much. Rather, she is expressing a sociological concept. For John Dewey, Chicago educator and superintendent of schools Ella Flagg Young, Addams and others in the progressive education movement, schools had to become social centers to supply the kind of guidance, training, and information that immigrant families were unable to provide.ย  What the Hull-House maps demonstrate is the lack of public schools in the thirty or so blocks most distressed. In fact, a larger project of the Hull-House education reformers was to develop a decent public school system which did not yet exist, although Addams and others felt justified in their claims of its inherent superiority.

When Addams and Starr arrived in the Nineteenth Ward, the public schools had quite a bit of catching up to do. ย Addams and Starr ultimately chose a location for their settlement house that placed it at the intersection of two Catholic neighborhoods: to the east of Halsted Street there were about thirty city blocks of Chicago-style tenements, filled with immigrants of many nationalities, but predominantly Roman Catholic and Italian; here in the river wards, industrial and commercial businesses had mushroomed after the Great Chicago Fire in 1871, and the housing stock accommodated increasing numbers of immigrant workers’ families. To the west (and including Hull-House itself) was a more prosperous neighborhood of more seasoned immigrants and of older residents, who Addams called “old settlers” and invited to the settlement house just as she invited the newcomers;ย  in America for many generations,ย  they had settled originally in the Near West Side when they, like Charles J. Hull, himself a real estate developer and evangelical Christian who built his homestead in 1856, imagined their homes would increase in value. Relatively undeveloped before the Civil War, this western edge of urban growth also attracted the Rev. Arnold J. Damen, S.J. who founded the Holy Family parish one year after Hull built his house. Addams coveted relationships with the neediest newest immigrants, the Italians, but the earliest efforts at Hull-House could not have gotten off the ground without the cooperation and engagement of the Irish Americans and “Old Settlers” who lived west of the settlement house. ย 

Addams tended to underestimate the private associational strength of the Nineteenth Ward as if the developments at her settlement had no antecedent or parallel institutions with which to have social intercourse. This was particularly true of the underestimating of the Catholic strength and contribution.[10]ย 

Had the Hull-House Maps & Papers project mapped the west side of the Nineteenth Ward, their narrative would have been dramatically different.ย  We are not talking about immense space, just four or five blocks south, north, or west of Halsted Street and Hull-House would have given the neighborhood a different cast; it would have appeared “mixed” economically, with prosperous sections and brick residences, prosperous shops owned by immigrants, and lots of parochial schools and churches. Even the east side, the area mapped, was not all of one piece.ย  Italian families who lived in this congested “slum” did not describe it that way. Francine Tarsitano, who told the story of her Hull-House jacket and the reaction of the BVM principal of St. Mary High School, was the youngest of a large Italian family.ย  In 1901, her grandfather Leopoldo Tarsitano had settled in the east end of the Nineteenth Ward, on a block in the densely populated blocks earlier depicted in the Hull-House Maps. Leopoldo had been in the Italian Calvary before coming to the U. S. With his wife Rosario and son Gabriel, the Tarsitano’s lived for several years in a flat and Leopoldo worked as a grocery cart peddler but by 1907 the family had saved enough money to buy their own two-story store front brick home located just west ofย  Holy Guardian Angel Church, an Italian parish. The store was on the first floor with the family living in the upper levels.ย  The Tarsitano’s children and grandchildren all participated in the cultural and recreational opportunities offered by Hull-House, and they were devotees of the summer camp in Waukegan, a place where the daughters and sons of immigrants had the taste of life outside the neighborhood. They all attended Holy Guardian Angel Church, the parish schools and all of Leopoldo’s four granddaughters attended St. Mary High School; one became a physician, after graduating from Mundelein and Loyola University Medical School; two became school teachers, graduating from Northern Illinois University; ย and another sister married and had children but did not work outside the home; two grandsons attended St. Ignatius Jesuit High School and Our Lady of Pompeii High School, the former attending the University of Illinois briefly and ending up with a business career at the managerial level; the latter graduated from Loyola University, did graduate work at De Paul and at the University of Nebraska and became a political science professor at the College of Du Page. ย 

One cannot judge whether the successes were mostly the result of the Hull-House connection or the extensive connection with Catholic schools. The more complete genealogy of the family indicates that the trends towards secularization in religion and society can be seen in the family as well as a lasting ethnic and culturally Catholic identity. There has been some intermarriage with non-Catholics and geographical mobility outside of the neighborhood, to be sure. There are also lasting remnants of the imprint of both Hull-House and the values of the teaching sisters.

The St. Mary High School experience was critically important for the Italian girls. They may not have fully understood how unique the experience was for the daughters of working class and immigrant families in the inner city.ย  St. Mary’s had already drawn attention to itself when by 1915 social feminist Ella Flagg Young, superintendent of Chicago’s public schools voiced her concerns that there was a disproportionate numbers of Catholic high school grads enrolled in the Chicago Normal School. They had done so well on the entrance exams that Young was quoted as accusing the Catholics of running “cramming schools” to inflate their numbers entering the teachers’ college. There was anxiety about having too many Catholics from the catholic system end up as public school teachers. The issue had been brewing for some time. ย As early as 1903, Chicago school boards had openly strategized to limit the numbers of Catholics entering the teaching profession.[11] Superintendent of Schools Young, testifying in 1915 before a state committee investigating the Chicago School Board, “proposed a quota system by which the board would assign to each high school, both public and private , a fixed number of places in the Normal School. The Catholic newspaper the New World saw this as one more bigoted effort to limit the number of Catholic teachers in the public schools.”[12]

Such a proposal and others that followed in subsequent years were not successful, but they had a bearing on the Catholic school culture and the responses made by administrators in the Catholic high schools. [13]

This is a crucial part of the Catholic narrative of education that, unfortunately, is often not known in Catholic circles either. What provoked the Progressive social feminists was the great progress made by the BVM-run St. Mary High School for Girls.ย  Located a stone’s throw from Hull-House, St. Mary High School was inaugurated at the height of the debate over urban education. ย Both the public system and the Catholic began the twentieth century with inadequate secondary institutions. At the turn of the century, when St. Mary’s was opened, secondary education remained an option for only a small segment of the population, whether Americanโ€‘born or immigrant. ย St. Mary High School immediately identified college and careers in education as the major goal for its students, many of whom were the daughters of Irish immigrant women who had worked as laundresses, seamstresses, and domestics.ย  BVM schools already had pioneered commercial programs for boys and girls in the 1890s,[14] so when commercial courses were introduced in 1902, they realistically prepared St. Mary’s students for the sector of the economy where jobs for women were expanding rapidly: the commercial office.ย  Courses in bookkeeping, typing, business arithmetic, and soon,ย  stenography, set the tone, with the goal for many graduates of attending a business college. [15]ย 

The young women also studied laboratory sciences including physics and chemistry, and biological sciences including botany, zoology, and physiology.ย  Music, drawing, manual training, and domestic science courses were also available.ย  Textbooks used were the standard ones assigned in the public schools.ย  Significantly, St. Mary’s was the first catholic girlโ€™s high school to offer advanced academic work in the form of college extension courses taught by the Jesuits.[16]

โ€œThe object of the social settlement,โ€™ Addams had outlined, โ€˜is the uplifting of the peopleโ€”the word people representing the working classesโ€”and this can best be accomplished by the poor acting as their own missionaries. No doubt the working people could be raised if they could be made to feel their power as citizens, because they are nearer to the needs of the poorest, while those who live in more comfortable parts of the town only hear of their needs remotely and know little practically about them.โ€[17] This statement by Addams paradoxically could have been written by the BVMs, simply changing “social settlements” to “Catholic schools.”ย  ย The BVM sister-teachers came from immigrant backgrounds, some were the first women in their families to achieve literacy. They were, indeed, “the poor acting as their own missionaries.” The young women who were educated at St. Mary High School included many who came from the thirty or so blocks east of Halsted Street, mapped by the Hull-House residents in 1895 and designated as a “slum” neighborhood.

ย In innumerable cases, neighborhood boys and girls of talent and potential found Hull-House to be a school of opportunity and refinement, a bridge out of the neighborhood. In delving into their backgrounds, however, one can draw this surprising conclusion: many of the best and brightest stars who, as one of them put it, “bit the apple” of the settlement ideology about civic engagement, had been educated in the American Catholic parochial system. The Hull-House neighbors did not make an “either/or” choice but as children and later as young adults, many immigrants and their children and grandchildren found ways to benefit from religious, family, and social settlement networks in ways that were not imagined by either the social reformers or the Catholic hierarchy.

More than most mainline Protestants, Addams challenged her own biases and consciously pursued an openness to her immigrant neighbors. She opposed immigration restriction, and upheld the rights of aliens, including their freedom to dissent and criticize the government. She insisted that Hull-House not proselytize its Jewish and Roman Catholic neighbors, and she took pride in the Greek plays, the Italian and German social get-togethers, and the exhibits of old-world arts and crafts displayed in the Hull-House Labor Museum.ย  She handled religious and cultural differences through the “performance” of religious pageantry without worship, religious art without prayer, and enactments of ethnic plays in the context of ethnically mixed audiences.[18]ย  But the heavy-duty lifting educationally in the neighborhood remained in the hands of Catholic women, the teaching Sisters whose recent flight from poverty and illiteracy in their crossings gave their commitment to educate Catholics an urgency and a wisdom as they prepared the poor to “be their own missionaries.”


[1] Tracy Fessenden, Culture and Redemption: Religion, the Secular, and American Literature. Princeton and Oxford: Princeton University Press, 2007, 3.

[2] Historian Ellen Skerrett documents twelve Catholic schools in the Hull-House neighborhood in 1892: Convent Academy of the Sacred Heart, opened fall 1860, 485 [1258] W. Taylor Street ; A free school at the northwest corner of Taylor and Lytle streets for girls of Holy Family parish, 1860; additional buildings for the Sacred Heart Academy complex were  constructed in 1864 and 1886; Holy Family Boys School, new building at 462 [approx. 1231] S. Morgan Street] opened 1865; St. Ignatius College, 413 [1076] W. 12th Street [Roosevelt Road]  opened 1870 (also enrolled young boys);St. Aloysius School, new building at 210 [631] W. Maxwell Street  opened 1870; Holy Guardian Angel School, 168 [ 711] W.  Forquer Street [Arthington Street]  opened 1874;St. Joseph School, on W. 13th Street near Loomis Street [1413 W. 13th Street]   opened 1876 ;St. Agnes School, 530 [approx. 1361] S. Morgan Street  opened 1887; Ephpheta School for the Deaf, 409 [1100] S. May Street in operation by 1890 (see attached Tribune article on Eliza Allen Starr, March 16, 1890);St. Francis of Assisi School, new building at southwest corner of 12th and Newberry Avenue  opened 1884;Notre Dame [French] School, new building at Oregon [Flournoy] and Sibley Street [approx. 1338 W. Flournoy] opened 1885;St. Wenceslaus [Bohemian] School, new building at 185 [710] W. DeKoven Street opened in 1893. Sources: โ€œProvince of Chicago,โ€ [1890 statistics compiled on the Archdiocese of Chicago], in James J. McGovern, Souvenir of the Silver Jubilee in the Episcopacy of His Grace The Most Rev. Patrick Augustine Feehan, Archbishop of Chicago, 1890 (Privately printed, 1891), 242-253; Brother Thomas M. Mulkerins, S.J., Holy Family Parish Chicago: Priests and People, ed. Joseph J. Thompson (Chicago: Universal Press, 1923); Rev. Msgr. Harry C. Koenig, ed., A History of the Parishes of the Archdiocese of Chicago 2 vols. (Chicago: the Archdiocese of Chicago, 1980).

[3] Francine Tarsitano Underdown Oral Interview Transcript OH-114, Hull-House Oral Interviews, Spec. Collections, Daley Library, University of Illinois at Chicago.

[4] The simple Chi-Rho Cross she prominently affixed to the collar of her dress can be seen in all the surviving photographs of Addams from the 1890s. It can be seen in the famous photo that has come to symbolize the determined young woman in her inaugural year as co-founder of Hull-House. The Chi-Rho Cross is visible in the 1892 charcoal drawing of Jane Addams by Alice Kellogg Tyler; it is in the famous portrait of Addams that appeared in New England Magazine, July 1898, in an article about Hull-House by Florence Kelley. It is visible in the portrait of Jane Addams that is on the cover of Victoria Bissell Brownโ€™s new edition of Twenty Years at Hull-House (1999) and in the majestic photo portrait of Jane Addams seated in an elaborate Victorian chair that graces the front cover of Allen F. Davisโ€™ American Heroine: The Life and Legend of Jane Addams reprinted in 2000. Preparing to open a settlement house, Addams compared her intentions with the goals of the College Settlement Association in New York City: “I will inclose [sic] the circular of a similar thing in New York,” she wrote her sister. “We are modest enough to think that ours is better, is more distinctively Christian, and less Social Science.”

 Jane Addams to Mary Catherine Addams Linn, March 13, 1889, Stephenson County Historical Society, in JAMC (reel 2-1043-1048), Special Collections, The University Library, The University of Illinois at Chicago.

[5] Jane Addams to Katherine Coman, Chicago, Dec. 7, 1891, JAP Microfilm Reel 2-1283.

[6] Jane Addams to Mary Catherine Addams Linn, March 13, 1889, Stephenson County Historical Society, in JAMC (reel 2-1043-1048), Special Collections, The University Library, The University of Illinois at Chicago.

[7] Rima Lunin Schultz, “Introduction,” 20, Hull-House Maps & Papers by the Residents of Hull-House (Urbana& Chicago: University of Illinois Press, 2007; reprint of original 1895 edition). 

[8] Hull-House Maps & Papers, 59.

[9] Jane Addams, โ€œForeign-Born Children in the Primary Grades,โ€ National Educational Association Journal of Proceeding and Addresses of the Thirty-Sixth Annual Meeting Held at Milwaukee, Wis., July 6-9, 1897 (University of Chicago Press, 1897), 106.

[10]In โ€œHull House, Chicago: An Effort Toward Social Democracy,”Forum, October 1892, Jane Addams states that: โ€œThere are seven churches and two missions in the [Nineteenth] ward.  All of these are small and somewhat struggling, save the large Catholic church [Holy Family] connected with the Jesuit College [St. Ignatius] on the south boundary of the ward and the French Catholic church [Notre Dame de Chicago] on the west boundary.  There are but three out of these nine religious centres in which the service is habitually conducted in English.โ€  The fact that English is only spoken in three out of the nine religious institutions is particularly upsetting to Addams. Addams also ignores the twelve Catholic schools in the Nineteenth Ward already established by 1892. โ€œProvince of Chicago,โ€ [1890 statistics compiled on the Archdiocese of Chicago], in James J. McGovern, Souvenir of the Silver Jubilee in the Episcopacy of His Grace The Most Rev. Patrick Augustine Feehan, Archbishop of Chicago, 1890 (Privately printed, 1891), 242-253; Brother Thomas M. Mulkerins, S.J., Holy Family Parish Chicago: Priests and People, ed. Joseph J. Thompson (Chicago: Universal Press, 1923); Rev. Msgr. Harry C. Koenig, ed., A History of the Parishes of the Archdiocese of Chicago 2 vols. (Chicago: the Archdiocese of Chicago, 1980).

[11] Sanders, 28.

[12] Sanders, 28.

[13] “Bishop Muldoon Denies Charges of Mrs. Young,” Chicago Tribune, Aug. 6, 1915, 13;  P. L. B[lakely], “High Winds in Chicago,” America, Vol. 13, No. 21, Sept. 4, 1915, 525-526. It is perfectly clear that the Roman Catholic hierarchy was in competition with public schools in Chicago and did not wish them “success”; rallying around a common enemy stirred up support among Catholics to support their own schools. It was a strange predicament, however, since graduates of Catholic schools found employment in public schools and this was used to defend Catholic education.

[14] Callan, “The Sisters of Charity of the Blessed Virgin Mary and Their Schools in Chicago, 1867-1940,” Master’s Thesis Paper 607, Loyola University Chicago, 1941, Loyola eCommons, 60, establishes that The BVMs had experimented successfully with commercial programs.

[15] William H. Chafe, The Paradox of Change: American Women in the 20th Century Oxford University Press, 1991, 68.

[16] St. Mary’s Herald, vol. I, no. 4, January 1931 includes historical material about the early years. St. Mary High School and Center for Learning papers, Richard J. Daley Library, Special Collections, University of Illinois at Chicago. The BVMs had experimented successfully with commercial programs earlier:

[17] โ€œOutlines A New Creed.โ€ Chicago Tribune, Nov. 7, 1898, pg. 10.

[18] The role of Hull-House theater โ€œin negotiating immigrant difference,โ€ as Shannon Jackson puts it, is too large a topic to discuss in this paper. See Stuart J. Hecht,  โ€œHull-House Theatre: An Analytical and Evaluative History,โ€ Ph.D. dissertation, Northwestern University, 1983; also: Elizabeth C. Barrows, โ€œThe Greek Play at Hull-House,โ€ Commons (January 1904); Shannon Jackson, Lines of Activity: Performance, Historiography, Hull-House Domesticity (University of Michigan Press, 2000.) Such performances could also be seen as Addams’s efforts to simulate a “cathedral of humanity.” Jenkin Lloyd Jones, Unitarian minister and ally of Addams, who often invited the settlement leader to lecture from his pulpit, called her โ€œthe unordained minister of the unecclesiastical church of human helpfulness that is to be.โ€  โ€œJenkin Lloyd Jones Memorial,โ€ Unity, vol. LXXXII, No. 12 (November 28, 1918), 148.

The Challenge of Community-Based Planning for Urban Renewal: The Case of Hull-House and the American Reform Tradition, 1930-1963,

After the death of its legendary co-founder Jane Addams in 1935, Hull-House trustees had to determine what role, if any, the old thirteen-building complex could play in the neighborhood that was being transformed by super highways, public housing, and the loss of population. They did so in the context of two historical movements: the migration of African Americans from the south to the urban North, that more than any other issue in the 1940s and 1950s challenged the deepest felt values and goals of the social settlement movement; and, the rising demand in local communities to democratize community organizations or agencies.

These two movements intersected in urban neighborhoods in the United States where the possibility of large-scale urban redevelopment threatened the status quo, especially the racial composition of communities. Hull-House, situated in such a neighborhood on Chicagoโ€™s Near West Side, decided to integrate and democratize its programs and staff, to remain in the neighborhood[1]; to support public housing; and to work with the neighborhood to develop a community-based plan for urban renewal.

The major tool to accomplish the goals of integration,  democratization, and community renewal, was an entity called the Near West Side Planning Board, an agency that was to be separately incorporated and independent of the settlement, but initially received staff and financial support. With this Planning Board, Hull-House hoped to create a process that would lead to vastly different outcomes from the typical model of urban renewal where land clearance and private development ignored the population being displaced. Instead, evoking the innovative spirit of the settlement movement as a vanguard of new social relationships in a democracy, Hull-House sponsored what it hoped would be an open and democratic process that could be used throughout the United States.  It was to include all elements of the community with the result that redevelopment would occur without displacement. The people of the neighborhood would be able to reap the rewards of the renewal rather than be forced out by rising real estate values and dispersed to other low-rent neighborhoods. This paper uses the case study of this community-based planning experiment to ask broader questions about community re-building in late twentieth-century and early twenty-first century American cities.

 Without spending too much time on background, it seems important to comment on how the Hull-House settlement actually functioned in the neighborhood. [2] In 1935, The Hull-House settlement had existed for forty-five years as a private, not-for-profit association governed by a board of seven trustees, including Jane Addams who called herself โ€œhead residentโ€ and did not take a salary. She was, until 1907, both the president and the treasurer of this board. The majority of the trustees had held their positions from the 1890sโ€”when the system was put into placeโ€”until Jane Addamsโ€™s death in 1935, or, if they preceded her, their own death. The trustees, during the Addamsโ€™s years, were women and men who overall can be described as wealthy civic-minded progressives who were responding to the evils of the industrial city. Addams, one of their class,[3] had established the settlement with her own funds and they backed her โ€œexperimentโ€ and accepted her leadership. Since Addams was a volunteer who invested her own money in the settlement, she fit a model of womanly benevolence not one of professionalism. The trustees were there to offer advice and counsel, not to supervise or to develop policy, unless asked directly. Addams, then, had a great deal of personal discretion and reigned almost completely unchallenged by the close-knit group of trustees.[4] In addition, Hull-House was not affiliated with a religious denomination or a university so had an enviable independent position. The meteoric rise to international prominence that Addams and the settlement achieved also gave her a protected status.[5] After her death, there were no head residents (now called directors) of equal stature or, obviously, whose relationship to the trustees had an equivalency.[6] This was very empowering for Addams and, I would argue, gave her the ability to speak out on many controversial stands without fear of reprisal, and to defend the rights of political dissidents worldwide. It allowed her to personally ally herself with unpopular causes and individuals, to establish radical organizations such as the Womenโ€™s International League for Peace and Freedom, and to maintain a large degree of freedom for the individual residents who came to live in the Hull-House complex. [7]

Hull-House was also a meeting place for unpopular groups from the neighborhood. Yet there was no thought that an individual who lived in the neighborhood and was active in the settlement should take a place on the board of trustees until 1943 when Alex Elson, who had grown up in the neighborhood and participated in Hull-House as a youngster, was selected by the board of trustees.[8]

The trustees had traditionally been among the settlementโ€™s major contributors: multi-millionaire heiress and leading civic reformer Louise Bowen, who continued to dominate the trustees until her death in 1953; Mary Rozet Smith, Janeโ€™s life partner and daughter of Smith Bragner, one of the countryโ€™s paper manufacturers ; Helen Culver, the heir of the Charles Hull real estate empire, and owner of the Hull homestead[9] and the property surrounding it; Mary Wilmarth[10], a feminist clubwoman and one of Hull-Houseโ€™s earliest supporters; Julius Rosenwald, who owned Sears Roebuck, Co., and was a leading philanthropist known for his support of education for African Americans in the South and his sponsorship of the NAACP; and Sewell Avery, president of the U.S. Gypsum Company and Chairman of the Board of Montgomery Ward & Company. Completing the list of trustees were the philosopher John Dewey, wealthy businessmen and art patrons Edward B. Butler and Charles L. Hutchinson, and Allen B. Pond, architect.

When old-timers died, they were replaced by other family members or individuals well-known to those on the board. Charles Hull Ewing โ€œreplacedโ€ his cousin, Helen Culver; Louise Bowen added her daughter Helen Bowen Blair in 1929 when the number of trustees increased from seven to nine.[11]

In the 1940s, when the number of actual trustee slots increased to 25, the categories of people who served expanded to include individuals who were prominent in the social welfare field as practitioners or professors, often who had been Hull-House residents in their younger years; less than a handful [four] of prominent African Americans [Robert R. Taylor, president of the Chicago Housing Authority; the Rev. Nathan A. Scott, professor of theology at the University of Chicago Divinity School; Dr. Lloyd A. Hall, chemist;  and journalist Era Bell Thompson] and a group of businessmen and their wives, primarily real estate developers, who held prominent roles in metropolitan Chicagoโ€™s planning circles (James C. Downs, Jr.; Anthony Downs; Ruth Camp, wife of J. Beidler Camp; Harry Goldstine; Mrs. Ferd Kramer); and prominent liberals including Adlai Stevenson and Marshall Field, III. 

The original โ€œresidentsโ€[12] of the settlement -โ€“young women and men-โ€”mainly affluent and well-educatedโ€”following the example set by Jane Addams, had included radicals, socialists, labor leaders and social reformers. The cross-class, cross-cultural relationships that were forged with the neighbors were intended to be cooperative rather than paternalistic, friendly rather than officious, and, at best, democratic in spirit.

Yet from the beginning, the neighborhood became a laboratory and the studies produced by the residents launched reform campaigns that would eventually transform the neighborhood, but for the first forty-five years or more, without neighborhood-led participation in the development of social policy. [13]

Under Charlotte Carrโ€™s administration, serious efforts were made to reverse this pattern and to democratize Hull-House within itself as well as in its relationships with the community. Of course, a large aspect of that effort was to change race relations within the settlement itself and in the neighborhood. Arriving in October 1937, Carr, who had been the executive director of the New York City emergency relief bureau, openly advocated New Deal-style cultural expression and workersโ€™ education, as well as civil rights.  Carrโ€™s approach to the race issue as administrator of emergency relief in New York had impressed Dorothy Height, the civil rights leader who had witnessed Carrโ€™s fairness toward blacks during the March 1935 riot in Harlem. The situation in March of 1935 was desperate for African Americans. While blacks were only 8 percent of New York Cityโ€™s population, they made up 42 percent of the unemployed on welfare. They were even denied positions on work projects set up by the welfare system and there was not a single person of color in a position of authority on the management staff of the Welfare Administration. Carr remedied the problem by appointing Height to be personnel supervisor in the central office of the Home Relief Bureau.[14]

 The African American community in Chicago anticipated her move to the city. Carrโ€™s network of labor and civil rights leaders and her friendships with these leaders were comparable to the kinds of inter-racial networks Jane Addams had formed at the high point of her influence, the difference being, of course, that Addams was a charismatic leader and that Carr never achieved that kind of recognition or influence. Jane Addams by 1912 had forged relationships with the black leadership and Hull-House was one of those places in a segregated world where African American women and men felt welcome. Addams co-existed with the contradictions that were part and parcel of Jim Crowism, was one of the founding members of the NAACP, but was unable to integrate Hull-House. Instead the work done by Hull-House among blacks, who by 1925 had settled in significant, although small numbers, south of the settlement[15], was carried out through the medium of the Hull-House Community Club, an organization of women affiliated with the State and National Federation of Colored Womanโ€™s Clubs.[16] The Hull-House Community Clubโ€™s members remained a separate [and segregated] club in the settlement house from the late 1920s thru the early 1950s.[17] Their children were kept separate rather than encouraged to join in the myriad of clubs and activities available for White children. The persistence of ethnically separate activities at Hull-House in the 1930s and 1940s points to deeper and more complex cultural and racial issues.[18]

One of Carrโ€™s first moves to integrate was to invite the first African American to Hull-House as a resident. She sought out Chicago Defender journalist Dewey E. Jones and his family, got a Rosenwald Fund stipend to cover his salary, and announced that Jones was going to investigate the conditions of African Americans in the neighborhood of Hull-House. Jones, who had been an advisor to Harold Ickes in Washington, D.C.,[19] was a good choice as the first African American resident at the House. Jones, his wife, Faith Jefferson Jones, a social worker; and their toddler, Dewey E. Jones, Jr., moved into the settlement in 1938.  Jonesโ€™s sudden death in April 1939, ended his work at Hull-House.[20]

Carr combined her efforts to integrate with community organization initiatives. Carr established a community relations department in 1939. Under the sponsorship of this department, two small neighborhood centers were started and operated by parents and a staff of neighborhood leaders who were made available by the Works Project Administration. One center was in the African American district south of the settlement and filled a need that had long been recognized by the Hull-House Community Club. As mentioned above, the Community Club had met since the 1920s, but had not been incorporated into the settlement life. Carr reversed this by empowering the African American women who were club members to run this new center located in their own neighborhood, with WPA and Hull-House funds. The women also reached out to African American businessmen who helped with funding. Activities within the center included a morning pre-school play group, afternoon game periods for school children, weekly dances and English classes for adults, with WPA leadership supervised by the Recreation staff of Hull-House. A motherโ€™s club had been organized and was sponsored by members of the Hull-House Community Club. Carr felt that this center represented an activity where neighborhood leaders were making plans for themselves and carrying them out, with minimum guidance from Hull-House.[21]

Carrโ€™s tenure with Hull-House ended in December 1942, after only five years, and, according to Carr, she had been fired.[22] There were charges of budget extravagance under Carrโ€™s administration, but the record indicates that there was no budget crisis.[23] Bowen was offended by Carrโ€™s politics, did not articulate what I believe was Carrโ€™s real sin: successful efforts at organization and empowerment of the neighborhood. This would have been threatening in itself, but Carr believed that the neighborhood people must participate fully in the affairs of the settlement. She saw Hull-House as the communityโ€™s organization.  Her boldness in this direction, political columnist Sydney J. Harris argued, โ€œoften antagonized some board members, as did her insistence upon entering political controversies when she felt the welfare of โ€˜the little people was at stakeโ€™โ€[24] since she believed that she, as director of Hull-House, represented the little people against the special interests.

While many people who agreed with her approach liked to say she was carrying out the legacy of Jane Addams, Carr was attempting something very different from the kind of social relations Addams established with the neighborhood. Commenting on the departure of Carr, a member of the West Side Community Committee [different from the West Side Community Organization], who had spent his life in the neighborhood, said the fundamental issue was โ€œwho shall formulate the policies of Hull House? Does Hull House belong to the people it serves, or to the trustees? Shall it be an โ€˜agencyโ€™ superimposed from above; or shall it be an instrument of the people themselves? Only by involving the people significantly in the management of Hull House can it ever become a real part of the attitudes, sentiments and thinking of the people.โ€ [25] 

Other social settlements faced the same challenges in the 1930s and 1940s, but few actively pursued a policy of integration or of democratization. Newer kinds of community organizations, like Anthony Sorrentinoโ€™s West Side Community Organization, developed out of University of Chicago sociologist Clifford Shawโ€™s Chicago Area Project, emerged to challenge the hegemony of established settlements like Hull-House. The West Side Community Organization was a group predominantly of neighborhood people of Italian background that emerged in the late 1930s as an alternative to the โ€œtraditionalโ€ top-down social agency approach. What is interesting about Hull-House settlement in this period is how the directors, staff, and residents attempted to move away from the top-down model while still retaining controls that resembled the top down model of a social agency.

One of the Hull-House residents who advocated for community organization was Eri Baker Hulbert, III, the grandnephew of Jane Addams.  From 1937-1940, he was counselor and head of tenant selection for Jane Addams Homes for the Chicago Housing Authority. The Homes were located in the Near West Side neighborhood less than a half mile west of the settlement complex.

It was Eri Hulbert who was given the task in 1947 of working with the other community organizations in the neighborhood. The major one was Sorrentinoโ€™s West Side Community Organization, mentioned above. This organization, rather than a club that came out of Hull-House, initiated discussions with the settlement about ways to cooperate in a community planning effort. While the West Side Community Organization clearly satisfied the agenda of democratization and had well-developed neighborhood leadership that would become significant for the effort to employ community-based planning for urban renewal when the Near West Side was challenged by large-scale land clearance plans, the organization also promoted a narrow vision of what constituted the neighborhood and ultimately made inter-racial cooperation, in response to the migration of African Americans from the South untenable.

The years of the experiment with community-based planning occurred during the directorship of Russell W. Ballard. With Carr gone, and with her the majority of the residents and staff who sided with her, also departed[26], Hull-House returned to its former traditions, with minor revisions.[27] The trustees regrouped, appointed an interim director, and carefully sought out the next permanent director.[28] The board ignored the communityโ€™s demands to have input in the selection of the next Hull-House director.[29] The 25-member trustee board had become more of a policy-generating group; there was much more bureaucracy and officers of the โ€œcorporationโ€ now included a president, three vice-presidents, a secretary, a treasurer, and an assistant treasurer. The director was more formally scrutinized by the board and was increasingly treated as a paid employee in the corporate model. Louise Bowen was president and treasurer.[30] 

Russell Ballard, a civil rights advocate who easily fit the Hull-House boardโ€™s qualification that the director of Hull-House โ€œdefend the rights of all racial, religious and economically disadvantaged groups as Hull-House has done in the past,โ€[31] succeeded Carr and continued to push for improved race relations in the neighborhood and for greater progress in the integration of the settlement and its programs. His ability to speak out, however, and to initiate programs was hampered by the boardโ€™s committee system. The conservative tendencies of the board were strengthened in the cold war anti-communism and red-baiting that accelerated in the post-World War II decades. These trends were apparent during Charlotte Carrโ€™s administration and she, like many pragmatic Left-leaning New Dealers attempted to distance herself from Communist-front groups and the Communist Party.[32]

Additionally, Ballard functioned in an atmosphere of increased racial tension in the United States. For Chicagoans and others in urban centers in the North, the Detroit race riot of 1943 was a frightening example of what might happen locally. Chicagoโ€™s Mayor Edward Kelley appointed a Mayorโ€™s Committee on Race Relations [later the Chicago Commission on Human Relations] immediately after the events in Detroit. Ballard and his assistant director, Elaine Switzer, were active in the expanded work on race relations undertaken by the Council of Social Agencies of Chicago.[33]  It was, however, in the day-to-day activities that Ballard, Switzer, and Robert Mulligan were immediately responsible that the work of race relations found its practical expression. โ€œBecause people attend a settlement house voluntarily, working with any group in an interracial setting calls for statesmanship of the highest order,โ€ Ballard wrote.[34] Ballard and his staff had to combat the withdrawal of Whites from programs as the neighborhood became increasingly influenced by the rumor that โ€œHull-House was โ€˜being ruined by the Mexicans and Negroes.โ€™โ€[35]

One of the Hull-House staff, Arthur Ferrell, had been stabbed when he was escorting a group of African American boys to their homes after a Hull-House activity. Occurring in 1952, it was the first incident of an attack on a member of the Hull-House staff.  Hull-House trustee Robert R. Taylor, an African American who was president of the Chicago Housing Authority board, encouraged Ballard to deal with the incident through the Mayorโ€™s Commission on Human Relations since the commission โ€œhad stepped in quietly in other areas at early signs of tension and had been able to help the local agencies work out constructive programs which appeared to allay unrest and lessen the tensions.โ€  The trustees also urged Ballard to press the police for a thorough investigation.[36]

Two years later, after more than fifty years of ethnic and race segregation, a new formula was tried out with the teams in the gymnasium. Each team was made up of boys from all racial groups in an effort to secure integration of all groups in the neighborhood.  Later reports indicated the progress was slow.[37] Out of frustration with the slow pace of interracial progress, Russell Ballard suggested that Hull-House begin to follow the lead of other settlement houses and extend their work directly into public housing projects where the need for service was so great.[38]

Eri Hulbert was well aware of the racial tensions in the Near West Side long before he agreed to take the staff position of executive director of the Near West Side Planning Board. The Italians did not want the African American community that was south of Roosevelt Road, a major racial boundary, to move into the area they saw as their own turf. The public housing projects were a potential source of racial change in the neighborhood, so while affordable public housing was a reasonable alternative for the blighted housing on the Near West Side, it was an unacceptable solution for the Whites that lived in the neighborhood and were the potential participants in community-based planning.  Attempting to bring together individuals from all sections and elements of the Near West Side community so that a planning board could begin with solid commitment behind it, his past involvement with the Jane Addams Homes in the neighborhood, and Hull-Houseโ€™s advocacy of public housing, worked against him. Father Barton, parish priest at Holy Family Church, a key institution in the neighborhood, disseminated blatantly hostile stories in his parish newsletter indicting Hulbert and Hull-House for their Left-wing politics and their advocacy of more public housing in the neighborhood. (Barton called it socialized housing.) In 1938 Barton had stopped the CHA from extending the Jane Addams Homes, an effort that Hulbert, as service director of the Homes, and Hull-House, as a willing intermediary for the CHA in the neighborhood, had favored.[39]

Hulbert produced a brochure to introduce the community planning board idea to the neighborhood. It indicates his grasp of the problems involved with creating an organization from scratch; of offering new and relatively technical information to people from all educational backgrounds and viewpoints; of the inherent structural problems of dealing with the new local, federal, and state bureaucracies pertaining to planning; and of the difficult distinction between creating a vehicle for the community to talk out and reconcile its differences over planning, constructing the planning board itself;, and finally, presenting a plan that would be implemented by other private and public partnerships. It was a very big meal for the community to digest.

The brochure tantalizingly explained that the private investors who could receive land from the Land Clearance Commission might be a neighborhood redevelopment corporation, an insurance company, or any individual, association or corporation set up legally to invest in housing in Illinois, including cooperatives and veteransโ€™ groups. In essence, it could be the community itself. The brochure enumerated the funds available for redevelopment from state, federal, and city sources, and concluded: โ€œThese laws and this money plus private capital can result in new homes, more parks and schools, better business and industrial facilities on the Near West Side. They offer a unique opportunity for the pioneering of a new frontier in city building.โ€[40]

In the next seven years, Hulbert and a core group that functioned as an executive committee did a monumental job of getting the concept of community-based planning on the table. Hulbert was able to gain the attention of the public agencies involved in the urban renewal process and while there were no agreements written in stone, all along the way the Near West Side Planning Board felt that it had general approval of its overall direction. [41]  This was an overly optimistic view.[42]

The process of interacting with the agencies was difficult for large-scale developers and, for a semi-professional group, as the Near West Side Planning Board was, having only limited support from local foundations, and a modest allocation annually from the Hull-House Association, the task was formidable.[43] In truth, the Planning Board had put off dealing with the really complicated problem of private capital once a plan was put in place. What made that an even more serious concern was the fact that in reality approval for a plan from the public agencies was based in large part on whether or not it was deemed realistic that the proposed project could be financed. The inability of the Planning Board to collect significant funds from the businesses in the redevelopment area was a sign of its weakness.[44]    

Perhaps the most disconcerting outcome in 1950 of the two years of organizing and after โ€œ75 meetings, which had been attended by 248 different people and by a total of 778, exclusive of innumerable small conferences, exclusive of hours of volunteer time  . . . exclusive of meetings called by other agencies in which the Planning Board participated and exclusive of a few Planning Board meetings of which accurate record was not made,โ€[45] was the realization that most people in the neighborhood were not interested in planning beyond their own block, or even their own piece of property.

The persistence of racism was undoubtedly the central problem in any kind of community planning in an area like the Near West Side. Hulbert and the core group[46] of Hull-House affiliated Planning Board members had to start the planning process in the place in which they found the community. While it was possible to include one or two African Americans, the other major interest group was the Italians. The reality was that the push from the Italian-dominated West Side Community Organization, and the churches in the neighborhood, was to focus on the much smaller area whose population was overwhelmingly Italian.[47]

Eri Hulbert was caught in a dilemma. He wanted to expand the horizons of the neighborhood and educate the people about the opportunities of planning, but he first had to gain their trust. The neighborhood felt that large-scale clearance was about to happen. So much of the neighborhood had become vacant already that this was not an unreasonable worry. Stimulated by this anxiety, a survey of property owners in the area was made with the help of a staff of local people hired and trained for the purpose. The information was to be mapped.

For the first time in two years, Eri Hulbert was energized and although he had pointed out the lack of money, lack of membership, and lack of action, and the persistence of racial tensions, he saw accomplishments: they were organizing the Planning Board itself; they had gotten industry, business, agencies and residents started in working together. Possibly the most important single concrete fact was the changed policy of the Central National Bank toward loans for home repair and home rebuilding.[48] Suddenly, in the face of the threat of losing the neighborhood, there was energy and hope for rehabilitation block by bloc, for conservation in selected blocks, for redevelopment.

Of course, this was putting the cart before the horse. There was no overall plan. How could any homeowner or business owner rely on the information from the various agencies when the City Council had not voted on a comprehensive plan for the city and the metropolitan area?[49]

To meet the insecurity that lurked underneath the frenzied activity to get maps readied and to showcase selected blocks where rehabilitation/conservation had been accomplished, the alderman of the ward introduced an ordinance into the City Council, the Pistilli Ordinance, bearing his name. The ordinance transformed the area bounded by Harrison Street, Halsted Street, Roosevelt Road, and Ashland Avenue from its blighted designation to be reclassified with certain exceptions as a proper area for rehabilitation of existing structures. [This eventually became the site of the Chicago branch of the University of Illinois.] The exceptions were the several blocks within the area where the structures were in such condition that it was economically unsound to undertake rehabilitation.[50]  Hulbert and others on the Near West Side Planning Board had questions about how the Pistilli Ordinance would be implemented and worried about residents of the neighborhood investing in rehabilitation without real guarantees.[51]

More profoundly, the Hull-House trustees and their core supporters on the Near West Side Planning Board believed the motivation for the Pistilli Ordinance was anti-democratic. It was a way to keep out private projects that might allow interracial housing or even African American families to live in public housing along with White families. Ironically, Eri Hulbert found himself engaged in a โ€œdemocraticโ€ process in the development of the community-based planning board that was, in the final analysis badly flawed.

The Hull-House trustees were reluctant to sponsor or advocate measures that allowed for a kind of local option to impede the civil rights of minorities. [52] This tension between the will of the local people and the values of open housing and anti-discrimination as a non-negotiable part of public policy in the rebuilding of American cities has been the subject of many works in the field of urban history and urban studies. 

By 1953-54, the Hull-House trustees were far less enamored with the possibilities of the Near West Planning Board. Rather than abandon their commitment to community planning, they sought for other ways to cultivate it. After years of involvement with the community, the trustees and staff of Hull-House returned to the drawing board and put together a citizen participation grant that was funded by the Schwarzhaupt Foundation; initially the grant was to be administered through the Near West Side Planning Board but, with the sudden and unexpected death of Eri Hulbert[53], the trusteesโ€™ discomfort with elements of the Near West Side Planning Board came to a head. Not being able to find among the Planning Board leadership anyone to replace Hulbert (who the trustees trusted and believed in) they moved to sidestep the group. A reorganized structure for the implementation of money from Schwarzhaupt for the development of citizen participation was accomplished and the Near West Side Planning Board officially severed its relationship with the Hull-House settlement in 1956. The new entity, the Citizen Participation Project, controlled entirely by the Hull-House Association, began anew; after hiring a professional community organizer, a series of community meetings to promote citizen participation were inaugurated![54]  Hull-Houseโ€™s commitment to community-based planning was to go on, but this time in a more controlled and focused approach.

These developments paralleled the change of direction for the neighborhood that was coming from the outside. In 1954, William Deknatel reported that James W. Follin, U.S. director of slum clearance and urban redevelopment, had been in Chicago during the past week talking with the Near West Side Planning Board, the Chicago Plan Commission and the Chicago Land Clearance Commission. It looked as if a firm commitment would result for the Hull House area to be one of two pilot urban renewal projects in the area when the housing bill now in Congress passed. Deknatel further reported that Mr. Follin was fairly sanguine about the prospects of the billโ€™s passage.โ€[55]

In 1956 the Harrison-Halsted area, the 55.5 acre tract of land that became in 1963 the campus of the University of Illinois at Chicago, was designated an urban renewal area. Reversing the agreements made locally through the City Council [Pistilli Ordinance] regarding the possibility of conservation and rehabilitation, the Chicago Land Clearance Commission now said that the project area was a slum and blighted area and eligible for redevelopment. [56]

Between 1957 and 1961, when it was first learned that the Harrison-Halsted area was being considered as the Chicago campus of the University of Illinois, several initiatives for redevelopment were on the table. The site conservation report for Harrison-Halsted could be read two ways: from the point of view of big-picture urban planning, the finding that โ€œmost of the structures in the project area and the living units contained in the structures have deteriorated to a degree where rehabilitation or conservation would not be an economic procedureโ€[57] opened up all kinds of possibilities; from the viewpoint of the local residents who had been the most ardent supporters and participants in the Near West Side Planning Board, and who had been working under the assumption that many of them could rehabilitate their own homes and remain in the neighborhood, it was the beginning of a series of betrayals. There were also property owners in the neighborhood who saw a chance for financial gains as they contemplated the rise in property values that were outside of, but close to the area designated for large-scale redevelopment. But this was possible only if public housing was kept out.

Ultimately, the Hull-House trustees who were increasingly representative of a real-estate industry-led redevelopment of post-World War II metropolitan Chicago (reflecting the Richard J. Daley plan for urban rebirth) found that the role for Hull-House was to help federal, state, and municipal authorities demolish the neighborhood[58] that had been the focus and the context of the settlement experience between 1889 and 1959. James C. Downs, Jr., who served as president of the Hull-House Association in 1959,1960, and 1961, the crucial years in which the fate of the neighborhood was decided, was a downtown realtor who had also made a name for himself as the head of Real Estate Research Corporation, the firm that had done the original site studies for the proposed Chicago-area campus of the University of Illinois. He began his association with Hull-House sometime in the mid-1950s. He had become one of Mayor Richard J. Daleyโ€™s closest advisors.ย The other trustees in 1957-1960 included: the wives of realtors Jay Beidler Camp and Ferd Kramer. (Kramer, who was involved in some capacity in almost every major redevelopment project in Chicago, served as president of the Metropolitan Housing and Planning Commission and in 1941 with Holman Pettibone, and Newton Farr, helped guide Chicagoโ€™s early renewal efforts. Kramer managed Lake Meadows, a project funded by New York Life, and developed Prairie Shores.) By the end of the 1950s, the Hull-House Trustees were reinventing the settlement by contemplating its removal from its historic site and its transformation into a social agency that served multiple constituencies in locations throughout the metropolitan area. The vision of settling as a bridge-building act undertaken to create cross-class and cross-ethnic and racial harmony and understanding had fallen away, replaced by strategies of delivering services in decentralized settings.

Deknatel, an architect whose widowed father, businessman Frederick Deknatel had become a resident of Hull-House in the 1900s, represented the ambivalent relationship the settlement had for a long time with the neighborhood. Deknatel played an increasingly significant role as a trustee and, finally, as president of the board of trustees of the Hull-House Association. He was intimately involved with the creation of the Temporary Organizing Committee, which became the Near West Side Planning Board. Deknatel was refreshingly transparent in a speech he made to the Hull-House trustees in 1947, as he explained the role that Hull-House would play:

With the beginning of planning there will be a series of battles. There will be inevitably serious disagreements about planning matters, both small and large. . . it will be you at Hull house who will be most capable of arbitrating these differences, because Hull House is the most disinterested agency in this community. It is the most disinterested because if our effort succeeds largely, it will put Hull House out of business, and I think that we can sincerely say that that would be a perfect conclusion to our efforts.[59]

This โ€œdisinterestednessโ€ from the neighborhood was inherent from the beginning. From public baths to reformation of the juvenile court system, progressive reformers with deep roots in neighborhood settlements like Hull-House began the process of urban renewal in American cities in the 1890s when they first moved into neighborhoods like the Near West Side. One of the first playgrounds in Chicago was opened under the auspices of the Hull House settlement; it was โ€œbuiltโ€ across the street from the settlement in a space created by the demolition of several slum flats owned by William Kent, a second-generation Chicago entrepreneur whose property holdings included badly maintained buildings in the slums. There is no record where the families moved who had lived in the hovels owned by Kent.[60] The expansion of the Hull-House settlement was an eighteen-year project in which slum buildings were demolished and replaced by the twelve additional structures that together made up the settlement complex. In creating this new neighborhood space that served educational, cultural, and recreational needs for thousands of families, the settlement added positive value to the district. It did not, however, add housing for the neighbors.[61] Nowhere in the process of โ€œslum clearanceโ€ and replacement with new buildings that had new functions, did the settlement consult with neighbors.

Deknatel also indicated that Hull-House was not wedded to fighting for a plan that the neighborhood people endorsed but was deemed unacceptable by planning experts, or did not fit with a better, more comprehensive and metropolitan plan. When the possibility of rebuilding the neighborhood by eliminating it and establishing the Chicago branch of the University of Illinois in its place, Deknatel and others on the board of trustees of the settlement could argue that this was an acceptable outcome of urban renewal as the university plan had merit in a larger conceptualization of metropolitan planning and, furthermore, in its โ€œdisinterestedness,โ€ the trustees could envision Hull-House Association providing services somewhere else. It was not tied to the neighborhood.

Two points should be made here. The first is that the Near West Side Planning Board, while unsuccessful ultimately, had positive outcomes as well. The Planning Board continued its work after 1955 because the heirs of Eri Hulbert had โ€œboughtโ€ the concept of community-based planning. A number of the neighborhood leaders who had cut their teeth on the Planning Boardโ€™s activities, were in place to participate in other councils and commissions where places for community representation needed to be filled. The Planning Board continued to include individuals who were Hull-House residents and/or lifelong participants in the settlement. Ernest Giovangelo, his sister Florence Giovangelo Scala, and Jessie Binford were examples of the social citizenship and new social relations Jane Addams had hoped would evolve from the disinterested, neighborly and open-ended role of the settlement. Inspired by the reform spirit associated with Hull-House, Binford came to the settlement as a resident in 1902, from Marshalltown, Iowa. She became involved with the workings of the new system of juvenile justice and movement of prevention of juvenile delinquency and, in her capacity as head of the Juvenile Protective League (a Hull-House affiliate located in the settlement), she became an adviser and advocate for neighborhood families. Troubled by the professionalization of child welfare during the 1940s and the eclipse of the community work approach, Binford retired in 1952 but remained a resident of Hull-House.

In 1961, Binford joined Florence Scala to co-chair the Harrison-Halsted Community group in opposition to the clearance of the neighborhood for the construction of the Chicago branch of the University of Illinois. Binford wanted people to know that it wasnโ€™t the Hull-House settlement that she was trying to save, but the neighborhood itself. [62]

The Giovangelos had grown up in the neighborhood with close ties to Hull-House, even though they also belonged to the Roman Catholic parish. Florence had a talent for acting and made close relationships with Hull-House residents who ran the theater arts department. It was with the Planning Board, however, that Scala fully realized her individual potential and began to understand the potential of democratic participation in social change. โ€œTo me,โ€ she explained, [Hulbert] was a teacher and a persistent pioneer in this new idea that the people themselves must participate in the planning of their own communities.[63]

Florenceโ€™s brother, Ernest, became a community organizer and participated closely with Hulbert. Some considered Ernie the obvious choice as the new director of the Planning Board after the unexpected death of Hulbert. There were clear biases against Ernie from the settlement side, where it became clear that fear of loss of control of the Planning Board, with the appointment of a real community leader as the executive director, outweighed faith in community-based planning.[64]

Teaching that โ€œthe people themselves must participate in the planning of their own communitiesโ€ was dangerous; by bolstering up the self-confidence of local leaders and supporting the neighborhoodโ€™s aspirations, Hull-House created a dilemma of major proportions. And this brings us to the second important point about the post-1955 planning process. Among the trustees of the settlement there was a split over what position to take when concrete proposals began to surface for the Harrison-Halsted site.

When they first heard that the neighborhood was considered as a site for the university, many trustees were shocked and greatly disturbed by the lack of a democratic process in making this proposal. This proposal came from left field; there had been numerous sites for the Chicago branch of the university proposed, vetted, and rejected, and there was still the possibility of a site near the central downtown that required the reorganization of railroad terminals. It had been touted as the best site. The sudden introduction of Harrison-Halsted was shocking since the Cityโ€™s department of urban renewal, the Chicago Plan Commission, the Chicago Land Clearance Commission, and the Chicago Housing Authority had all had innumerable conversations with the community councils, including the Near West Side Planning Board, that envisioned some kind of project for Harrison-Halsted that combined clearance of slums, rehabilitation and conservation of viable structures, and a staged re-location and then return of displaced neighborhood people into residences they could afford.

Even the Hull-House trustees like James C. Downs, Jr., who were โ€œinsidersโ€ in the urban renewal/planning circles of the City, had participated, seemingly in good faith, with the community.[65] As late as January 1960, Downs and the trustees were involved in developing a plan for a new cooperative housing development in the cleared land near Hull-House.[66] There had never been any talk about the possibility of the site as a campus for the Chicago branch of the University of Illinois.

All of this involvement with the community was interrupted when in April of 1960, leaks in local newspapers revealed plans to use the Harrison-Halsted site for a university campus. Confidential meetings were held in Downsโ€™s downtown office with trustees from the settlement. [67] Between April and October of 1960, while James C. Downs, Jr., held the position of president of the Hull-House board of trustees and was a senior advisor to Mayor Richard J. Daley on urban renewal projects and clearly a participant in the inner circles of power surrounding the mayor, Hull-House trustees brooded and debated what position they should take regarding the proposal to build the University of Illinois campus on the Harrison-Halsted site and thereby destroy the residential community with whom the settlement had been engaged in active planning for improvements for more than a decade. Downs, who stepped down from the presidency at the crucial moment of the public announcement of the plan to build the university in the neighborhood, remained an active trustee, as did his son, Anthony.[68] Downs and his son, pushed for the board to remain neutral during the crucial months of negotiations between the City and the University of Illinois over the final resolution of site selection.[69]

In February 1961, pressure from trustees and staff to oppose the University of Illinois campus plan had gathered, as had the opposition from the neighborhood to both the plan and to the lack of leadership from Hull-House. A special committee was appointed from the board; it deliberated and came back with a resolution to oppose the university plan that ended with this statement:

For decades Hull House has been standing for democratic processes and has been endeavoring to teach them to the thousands of new Americans who have passed through its doors. In the tradition of Jane Addams, Hull house cannot stand by while a project is undertaken which, however worthy in itself, completely ignores these processes, and must oppose governmental actions which fail to consider the rights of the people affected.[70]

This resolution never got out of the boardroom; divided, the trustees negotiated their internal differences by continuing a public position of neutrality.[71] Hull-House resident Robert Mulliganย despaired at the refusal of the Board to release the statement. He stated to the board that the people feel that part of the โ€˜greater goodโ€™ of the City of Chicago is good democratic government. They say they are not cattle or colonials, but people, and should be treated that way.โ€[72]

This board stance of taking no position on the proposed Chicago campus of the university was understood by the community as a betrayal of neighborhood interests and of the hard work of community-based planning that they had engaged in because, in part, they trusted Hull-House.  The Hull-House staff, who continued to have close ties with the neighbors (and in many cases sided with the community against the trusteesโ€™ neutrality) considered the board, in the best reading of it, indecisive, and in the worst, betrayers and hypocrites.[73]

The settlement had been instrumental in organizing the neighborhood to accept the concept of planning; it had been the agent of change, of modernization, and ironically, the agent of an urban renewal project that destroyed rather than rebuilt the neighborhood. It was not that the neighbors had resisted change; they had played by the rules, worked with City officials and urban renewal agencies. Hull-House, from this point of view, was demonstrating that democracy did not work. On the other hand, the plans that were acceptable to the neighborhood leaders of the Harrison-Halsted area, did not work if your goal was to provide affordable and decent housing for the people who lived just a few blocks south across the race boundary of Roosevelt Road.

This leads to a consideration of whether or not community-based planning is an effective means for solving the problems of urban neighborhoods. The question of the unit of planning is very important. For Anthony Downs and his father, James C., and for William Deknatel and many others on the board of trustees of Hull-House, the neighborhood was not the defining unit. The well-being or common good of the metropolitan area, the more realistic measure for modern planners, required a broader universe of people, institutions, and resources than that which could be addressed in a neighborhood of a city. Were these men the villains of the tale? Initially in my research I found the juxtaposition of the real estate interests on the board of trustees and the self-consciously integrationist positions of Russell Ballard to be inexplicable. Why didnโ€™t they fire him? What was going on? After unearthing the names of key civil rights leaders who were resident or trustee at Hull-House in the late 1930s thru 1950s, at the same time that James C. Downs Jr., and other real estate redevelopment/urban renewal promoters also served on the board, it hit me that this was, in fact, one of the โ€œaccomplishmentsโ€ of cold war liberalism as practiced by Ballard and the trustees at Hull-House. They were more on the same page than one might think. The essence of this liberal coalition was its accommodation to the private market; the integrationists like Ballard had nowhere to go but in the direction of men like Downs and Ferd Kramer of the Metropolitan Housing and Planning Commission. He and his wife, who served as a Hull-House trustee, were a new breed of liberals willing to work for managed integration and who advocated private market solutions like Lake Meadows and Prairie Shores in Chicago to reconfigure what had been blighted communities. They did not solve the public housing dilemma, but they created the market for middle-class professionals of both races to have greater choices in the post-World War II housing market. These liberals, who would be awarded human relations commendations from the Mayorโ€™s Commission on Human Rights do not look very much like civil rights leaders to me; yet the other side of the private market, the real estate block-busters and red-lining mortgage agents, were betting on racism to win out.

At Hull-House the race relations specialists, the reformers and idealists, and the liberals who believed in an interracial society inhabited public space in an often polarized, violent urban landscape. Those individuals, idealists like Russell Ballard and Eri Hulbert, who gave their energies to creating vehicles for the development of community leaders and who placed their hopes on the democratic process had to question what went wrong in the Hull-House neighborhood that produced racism rather than tolerance and cloaked this racism in community-based planning processes. This is not to say that all of the participants in the Near West Side Planning Board were opposed to breaking down the color line. That would be a gross overstatement. Yet in the overly narrow focus on a block- by- block approach to conservation and rehabilitation, they selected a small subsection of the Near West Side as their universe. They were aided by federal and state legislation that had built-in local control at crucial stages of redevelopment to satisfy the political forces who fought to keep the racial status-quo. And here again the Hull-House case is instructive. As a settlement house that had a long history of opening its doors to all, it had dealt with the race and ethnic conflicts in the neighborhood by not forcing integration; clubs were self-perpetuating โ€œblocksโ€ in the neighborhood, first because of barriers of languages, but then by the persistent weight of old fashioned prejudices. To counter this, Hull-House had a great variety of programs and activities where there was a mix of the smaller homogeneous groups.

These opportunities for cross-race, cross-ethnic interactions led to friendships and a greater understanding of the importance of respect for all people. Certainly, these experiences made it possible for the neighborhood to value itself and seek a plan to remain a community rather than leave for suburbia. But it also made it possible for old identities to be valorized and for community-based planning to be hampered by the legacy of racism. This paper could only begin to explore the possibilities and limits of community-based planning in an urban neighborhood that encapsulated in its space almost all the fault lines and tensions of American society.  It is a cautionary tale to consider when we assume that โ€œpower to the peopleโ€ can lead to better planning processes than those framed by technocrats and professional planners.


[1] The trustees demonstrated ambivalence on this issue. On the one hand, although there had been discussions at different times from the 1930s regarding the future of the settlement house, the records of the Hull-House Association make it clear that investment in the old buildings and efforts to develop new programs and to adapt to the changing demography of the area continued unabated until the decision to clear 55 acres of land, including the land in which the thirteen Hull-House buildings stood to make way for construction of the Chicago branch of the University of Illinois, had been made by the University and the City of Chicago. On the other hand, influential board leaders like William Deknatel and James C. Downs, Jr., did not identify Hull-House with the neighborhood.

[2] We need to separate the settlement from its founder, the legendary American heroine, Jane Addams, who is depicted as the quintessential social philosopher of democracy by many recent scholars. Jean Bethke Elshtain, Jane Addams And the Dream of American Democracy. Basic Books, 2002; Charlene Haddock Seigfried. Pragmatism and Feminism: Reweaving the Social Fabric. The University of Chicago Press, 1996; Louise W. Knight, Citizen: Jane Addams and the Struggle for Democracy (Chicago & London: University of Chicago Press, 2005).

[3] Addams, the daughter of an Illinois State Senator and businessman who died in 1881, inherited a portion of his estate and was able to restore the old Hull homeโ€™s interior and contribute to the settlement budget, albeit with contributions from others, until about 1895. Addams was clearly a privileged woman who did not need to work; she was not, however, rich, as attested to the small amount of property and outright cash she had at the time of her death.                                                 

[4] The one exception to this is the relationship she had with Helen Culver; the incorporation of Hull-House in 1895 was a condition imposed by Culver before she would make a permanent relationship with Addams who, from 1889, had leased the house and had negotiated for each new lot for the expansion of the complex. Allen B. Pond to Helen Culver, April 18, 1906. JAMC Reel 4-1331, Spec. Coll., Daley Library, UIC.  See also: Jane Addams Memorial Collection correspondence, 1889, reel 2.  Letters to landlord Helen Culver from Jane Addams in March 1890.  Through the early years Addams struggles to get Culver to donate rent and eventually more buildings, finally convincing her after several years to offer some of the lots on the block for sale.  See especially letter from Jane Addams to โ€œDearestโ€ (Mary Rozet Smith) March 23, 1898, JAMC reel 2.

[5] There were always critics, but Addams did not experience serious and sustained criticism until her pacifism during World War I. This was a difficult period for her personally but in an extraordinary demonstration of loyalty, Louise deKoven Bowen, a pro-war Progressive, stood by Addams and continued to fund the settlement as well as raise money from others, defending her friend and colleague at every turn. Louise deKoven Bowen, โ€œLetter About Hull House,โ€ in volume 2 of Speeches, Addresses, and Letters of Louise deKoven Bowen, ed. Mary Humphreys (Ann Arbor, Michigan: Edwards Brothers, 1937): 789-92.See Allen F. Davis, American Heroine: The Life and Legend of Jane Addams. (Chicago: Ivan Dees, 2000), pp. 251-281, for a discussion of the attacks on Addams.

[6] Adena Miller Rich is the exception that proves the pattern. As the immediate successor to Addams, this Hull-House resident who headed the Immigrantsโ€™ Protective League, an affiliated agency at the settlement that had a national reputation in the field, Rich reluctantly agreed to takeover after Addamsโ€™s death, but insisted that she be a part-time, unpaid head resident The Welfare Council of Chicago urged the trustees to find a full-time paid professional as this was becoming the trend in settlements. Charlotte Carr and Russell Ballard called themselves directors and received executive salaries. HHA Minutes of Special Meeting of Trustees, August 2, 1935; HHA Minutes, Jan 8, 1937, HHA Box 1, Folder 5; 

[7] For example, no one dared suggest that Professor Robert Morss Lovett, of the University of Chicago,t and his wife, Ida, leave Hull-House, where they had resided for many years, when the American Legion accused him of disloyalty. Trolander, Settlement Houses and the Great Depression, 104-105.

[8] Alex Elson Oral Interview transcript, OH-074 [interviewed by Stuart J. Hecht] October 12, 1980, 13, Spec. Coll. Daley Library, UIC.

[9] The Hull homestead was the building where Jane Addams and Ellen G. Starr opened the settlement house in 1889. For a good biography of Helen Culver see: Rima Lunin Schultz and Adele Hast, editors, Women Building Chicago: A Biographical Dictionary 1790-1990 (Bloomington: Indiana University Press, 20010.

[10] See the biographical entry of Wilmarth in Women Building Chicago. Wilmarth, among other distinctions, was the mother-in-law of Harold Ickes, a young Chicago lawyer who later went to Washington D.C.

[11] This data has been gathered primarily from the Minutes of the Hull-House Association, the Hull-House Year Books and Bulletins: April 25, 1895, March 14, 1903; April 14, 1903; October 15, 1907; January 27, 1908; April 14, 1908: October 30, 1928; November 1, 1928; April 9, 1929; June 18, 1929; October 29, 1929;  April 29, 1930;May 27, 1935, Board of Trusteesโ€™ Minutes, Hull-House  Collection, Dept. of Spec. Collections, Daley Library, University of Illinois at Chicago (UIC); Hull-House Bulletin 3, no. 12 (November and December 1899): 4. Biographical information on Sewell Avery: Marquis, Whoโ€™s Who Chicago and Illinois, 1945; for Helen Bowen Blair: Marquis, Whoโ€™s Who Chicago and Illinois, 1945; โ€œHelen Culver Funeral To Be Held Saturday.โ€ Chicago Tribune, Aug. 20, 1925, pg. 10; โ€œHelen Culver Leaves U. of C. $600,000.โ€ Chicago Tribune, Nov. 14, 1925, pg. 1; โ€œC.L. Hutchinson, Banker, Is Dead. Long Active in Civics, Art, and Charities.โ€ Chicago Tribune, Oct. 8, 1924. pg. 1. See biographies of Mary Rozet Smith, Mary Wilmarth, Louise deKoven Bowen and Helen Culver in Women Building Chicago: A Biographical Dictionary 1790-1990 edited by Rima Lunin Schultz and Adele Hast (Bloomington: Indiana University Press, 2001).

[12] Residency was a major function of the settlement house movement. It was a program that socialized hundreds of women and men from privileged and educated backgrounds and promoted ideas that we now associate with the liberal welfare state. Hull-house records on residency are incomplete, but minimally, there were 350 residents by 1930. My own research of residency at Hull-House from 1889 to 1963 lists more than 750 names, with varying amounts of biographical information. In 1935 there were 65 residents, of whom 45 were women and 20 were men, two were children; thirteen had arrived that fall; in 1943 there were 86 adults and 7 children; in 1946 there were 102 adults and 8 children. Hull-House Residents 1889-1929, Hull-House Collection, folder 294, Special Collections, Daley Library, UIC; Hull-House Year Book Forty-Fifth Year, 1934; “Report to Hull-House Trustees,” November 27, 1935, Adena Miller Rich Papers, Folder 17, Special Collections, Daley Library, UIC; Russell W. Ballard to the Board of Trustees, HHA, January 27, 1947, Welfare Council Papers Box 330, Folder 2, Chicago History Museum.

[13] [Residents of Hull-House] Hull-House Maps and Papers: A Presentation of Nationalities and Wages in a Congested District of Chicago, Together With Comments and Essays On Problems Growing Out of the Social Conditions [HHM&P] (New York and Boston: Thomas Y. Crowell & Co., 1895); Mary Jo Deegan argues that the Chicago School of Sociology at the University of Chicago in its early days was influenced by the work undertaken at Hull-House and that the early men of the Chicago school  had the “same ideal, to bring sociological knowledge to everyday life to enable people to make intelligent decisions. . . .”  Deegan, Jane Addams and The Men of the Chicago School, 41. Hull-House residents continued to use the settlement neighborhood as a field of study: Breckinridge, Sophonisba P. and Edith Abbott.  โ€œChicago Housing Conditions: The West Side Revisited.โ€ American Journal of Sociology, Vol. 17, no. 1 (July 1911): 1-34. Hull-House residents along with Jane Addams inspired the establishment of the City Homes Association in Chicago which sponsored research, again using the neighborhood and other districts of Chicago, and published Robert. Hunter, Tenement Conditions in Chicago. City Homes Association, 1901. At the time Hunter, who continued his career in New York City, was a Hull-House resident. Hull-House resident Edith Abbott revisited the neighborhood and other districts in Chicago in Abbott, Edith. The Tenements of Chicago: 1908-1935. University of Chicago Press, 1936. Recent sociological studies refer to both the neighborhood and the literature that has emerged about it: Gerald D. Suttles, The Social Order of the Slum: Ethnicity and Territory in the Inner City. University of Chicago Press, 1973, 1968.

Hunter, Albert.  Symbolic Communities: The Persistence and Change of Chicagoโ€™s Local Communities. University of Chicago Press, 1974; Gregory D. Squires, Larry Bennett, Kathleen McCourt, and Philip Nyden.  Chicago: Race, Class, and the Response to Urban Decline. Temple University Press, 1987; Carla Cappetti, Writing Chicago: Modernism, Ethnography, and the Novel. Columbia University Press, 1993.

[14] Dorothy Height, Open Wide The Freedom Gates (New York: Public Affairs Books, 2003) 54.

[15] Hull-House Year Book, 1925, 23: โ€œIn recent years there has been a rather large influx of colored people into the neighborhood. While this club is relatively new it has made an excellent beginning. Its program includes sewing, cooking, wax-work and recreational activities.โ€ Italians made up twenty-six percent of the Near West Side population while African Americans represented eight percent of the population in 1930. Louis Wirth and Margaret Furez, eds. “Near West Side,” Local Community Fact Book 1938 (Chicago: Chicago Recreation Commission, 1938.

[16] Hull-House Year Book, Fortieth Year, 1930, 27; Hull-House Year Book, Forty-second Year, 44; Donna Hodgman, โ€œHull-House Community Club Believes in Work As Well As Play.โ€ HH Block News, vol. 2, No. 9, Feb. 10, 1939, 2-3.

[17] Articles in the Chicago Defender about the club never identify its being all black as a problem and there were also reports that when national associations of African American women held their meetings in Chicago, the Hull-House settlement was a sought-after venue for part or all of the programs. This brings up the whole question of how in a segregated society a White institution like Hull-House could promote respect and acceptance of a black-only group; in this case anti-discrimination meant being willing to let African American community groups share space with Whites.

[18] Hull-House Year Book Forty-Second Year, 1931-32, 43; : โ€œOne afternoon a month all of the women who have afternoon classes at the House and in periods of unemployment the men as well, have an afternoon social at which refreshments are served and a special program is carried out. The last celebration of Washingtonโ€™s birthday was especially successful both for its historical presentation and its air of jollity. The group of women represented Mexicans, Italians, Greeks, Bohemians, Germans and Lithuanians.โ€ (Hull-House Year Book, Fortieth Year, 1930, 27; Hull-House Year Book, Forty-fifth year, 44, 35; Donna Hodgman, โ€œWide Interest Shown In Revival of Greek Club,โ€ Hull-House Block News, Jan. 27, 1939, Vol II, no. 7, 2; HHA Records, Scrapbooks-Press Clippings, Folder 523, West Side Times, 9-13-51;

[19] Harold Ickes, a Chicagoan with close ties to Hull-House and Jane Addams, had served as president of the local chapter of the NAACP. The Left-leaning New Deal networks had begun to include the black bourgeoisie; Hull-House was one of the connecting links in this new infrastructure, bringing blacks and whites together. Later on Robert E. Weaver, who also worked with Ickes, would live at Hull-House while he served as director of Community Services of the American Council on Race Relations in Chicago. Russell W. Ballard to the Board of Trustees, HHA, January 27, 1947, Welfare Council Papers Box 330, Folder 2, Chicago History Museum.

[20] David W. Kellum, โ€œDeath Claims Dewey R. Jones; Journalist is Buried After Simple Rites; Loses Fight With Death After Illness of Nine Days,โ€ Chicago Defender, April 15, 1939, 1.

[21] Hull-House At the Fiftieth Year. May 1940.

[22] http://tigger.uic.edu/htbin/cgiwrap/bin/urbanexp/main.cgi?file=new/subsub_index.ptt&chap=130. This is an article written by Alexander Gourse for Urban Experience: Hull-House and Its Neighborhoods 1889-1963, an educational and research website edited by Rima Lunin Schultz for the Jane Addams Hull-House Museum and the University of Illinois at Chicago.

[23] Actually had a surplus, but still were faced with essential repairs; endowment was somewhat over $500,000; during 1943 they did not liquidate any endowment securities for current expenses. The increase in the value of the endowment fund came from higher market quotations for their railroad bonds and common stocks not because there were additions to the endowment in 1943. โ€œFinancial Statement Year Ended December 31, 1943,โ€HHA Trusteesโ€™ Annual Meeting, January 28, 1944, Hull House Collection.

[24] Sydney J. Harris, โ€œCharlotte Carr Resigning From Hull House Job.โ€ Chicago Daily News, Dec. 23, 1942, 1; 4, Folder 543, Hull House Collection, Spec. Coll. Daley Library, UIC.

[25] Sydney J. Harris, โ€œCharlotte Carr Resigning From Hull House Job.โ€ Chicago Daily News, Dec. 23, 1942, loc. cit.

[26] Some of the break-up of the New Deal group at Hull-House can be attributed to the loss of WPA funds as the New Deal came to an end.

[27] One of the most telling reversals was the return of the weaving room. Carr had taken a real dislike to the arts and crafts-type approach to workers in the neighborhood and had removed much of the Labor Museum arts and crafts and utilized the space for industrial skills training and meeting rooms for groups of men who were unemployed. The weaving room after her departure was revitalized. Esther Wendel Oral Interview Transcript [interviewed by Mary Ann Johnson], July 11, 1984, page 2., Spec. Coll. Daley Library, UIC.

[28] โ€œMrs. Ruth Camp To Act As Head of Hull House.โ€ Chicago Tribune, May 29, 1943, pg. 18; HHA Trusteesโ€™ Minutes, July 23, 1943, Hull House Collection; Council of Social Agencies report by Lucy P. Carner, sec. of Division on Education and Recreation, reported on Hull House June 16, 1943, Welfare Council Papers Box 330, Folder 2, Chicago History Museum.

[29] Hazel MacDonald, โ€œResidents Ask for a Voice in Hull House,โ€ Chicago Times, n.d., Near West Side Community Committee Records, Box 30, Folder 410.

[30] HHA Annual Meeting Minutes, March 26, 1943, Hull House Collection.

[31] This is from a statement of qualifications for the director of Hull-House, which was written by Dr. Wayne McMillen in 1943 for the personnel committee. McMillen was a University of Chicago sociologist who had become a trustee in 1939 on the suggestion of Charlotte Carr. HHA Trusteesโ€™ Special Meeting, March 27, 1961, Hull House Collection, Folder 25, Spec. Coll. Daley Library, UIC; HHA Trusteesโ€™ Meeting, September 22, 1939.

[32] Sydney J. Harris, โ€œCharlotte Carr Resigning From Hull House Job.โ€ Chicago Daily News, Dec. 23, 1942, 1; 4, Folder 543, Hull House Collection; โ€œJane Addams Spirit in Carr Background.โ€ American, December 26, 1942, Folder 543, Hull House Collection

[33] A Brief History of the Committee on Minority Group Relationships, Division of Education and Recreation, Welfare Council of Metropolitan Chicago.โ€ October 1950, 1, Welfare Council Papers, Box 145, Folder 13, Chicago Historical Museum; HHA Trusteesโ€™ Minutes, September 24, 1943, Hull House Collection;

[34] Russell W. Ballard, โ€œHull-House Association Community Fund Service Report,โ€ October 1951, Hull House Collection, Folder 10.)

[35] Russell W. Ballard, โ€œHull-House Association Community Fund Service Report,โ€ October 1951, Hull House Collection, Folder 10.

[36]  HHA Trusteeโ€™ Minutes, March 28, 1952, Hull House Collection, Folder 16; Russell W. Ballard, Hull-House Association Service Report, October 1952. Prepared for the Welfare Council and Community Fund, Folder 41, Hull House Collection.

[37] HHA Trusteesโ€™ Minutes, January 28, 1955, page 2 of Minutes, Hull House Collection.

[38] Russell W. Ballard, โ€œThe Directorโ€™s Report,โ€ January 1957,โ€ Hull House Collection, Folder 21.

[39] HHA Trusteeโ€™ Meeting, May 27, 1938, Folder 5, Hull House Collection; Eri Hulbert to William Deknatel, Feb. 21, 1949, Hull House Collection, Folder 383.

[40] โ€œWho Will Plan to Rebuild the Near West Side?โ€ [brochure], n.d. [October 1948] Near West Side Community Committee Records, Box 30. Folder 403.

[41] Near West Side Planning Board Meeting with Chicago Land Clearance Commission, November 22, 1949, Near West Side Community Committee, Box 41, Folder 564, Spec. Coll. Daley Library, UIC; Executive Committee Meeting, Near West Side Planning Board, April 20, 1950, Near West Side Community Committee records, Box 41, Folder 565; William Deknatel, โ€œThe Near West Side Planning Board,โ€ pg. 6, typescript, December 18, 1950, Folder 388, Hull House Collection. Note that in this typescript Deknatel writes: โ€œIt was [also] realized at once that there were numerous city agencies whose planning in broad aspects affects the future of the Near West Side in detailed application. [the Plan Commission, the Land Clearance Commission, the Chicago Housing Authority, the Department of Subways and Superhighways] It was important to establish working relationships with the city agencies, with a dual purpose: the first to learn from them, and in turn to inform the people, what plans they are making which affect the community; and the other to transmit to the city agencies an expression of needs developed through the Planning Board.โ€ Also see: Eri Hulbert, executive director, to Ira Bach, Chicago Land Clearance Commission, June 6, 1951, Folder 389, Hull House Collection; Frederick T. Aschman, Chicago Plan Commission, to Ira J. Bach, Executive Director, Chicago Land Clearance Commission, January 11, 1954, Folder 395, Hull House Collection.

[42] Frederick T. Aschman, Chicago Plan Commission, to Ira J. Bach, Executive Director, Chicago Land Clearance Commission, January 11, 1954, Folder 395, Hull House Collection. 

[43] HHA Trusteesโ€™ Minutes, Sept. 26, 1952, Hull House Collection, Folder 16; Minutes, HHA trusteesโ€™ minutes, January 25, 1952, Hull House Collection, Folder 16; HHA  trusteesโ€™ minutes, December 3, 1954, Folder 18

[44] HHA Trusteesโ€™ Minutes, December 3, 1954, Folder 18, Hull House Collection; Near West Side Planning Board Meeting with Chicago Land Clearance Commission, November 22, 1949, Near West Side Community Committee, Box 41, Folder 564.

[45] Council Meeting, near West Side Planning Board, May 2, 1950, Near West Side Community Committee records, Box 41, Folder 566, Spec. Coll. Daley Library, UIC.

[46] In 1948 six subcommittees were authorized by the Temporary Organizing Committee for the redevelopment of the Near West Side, the precursor of the Near West Side Planning Board. They were: 1. Sub-Committee on Purpose, Policy and By-laws chaired by Russell Ballard and its members included Russellโ€™s son John; HH residents Ruth Austin, Robert Mack, Helen Springer and Clara Stahl. Also HH resident and executive director of the Mayorโ€™s Commission on Human Relations, Thomas Wright. Two โ€œoutsidersโ€ were Fred Rosenberg, who was from the West Side Community Organization, and Ethel Clark, who was from the Newberry Center, a social settlement in the African American district south of Hull-House.  The second sub-committee, On Industrial Contacts, was chaired by HH trustee Wallace Flower, a downtown investment banker, and had on its committee HH trustees Edward Blair, J. Biedler Camp and Bernard Schaar [all were either downtown or neighborhood-based businessmen]; Anthony Sorrentino was from the West Side Community Organization, but had grown up as the son of immigrants in the neighborhood; however, was employed by CAP after becoming a sociologist and graduating from U of Chicago. The other member was Walter Van Bergen.  The sub-committee on mailings and records [a fancy name for secretarial???] was, unsurprisingly, composed of three women, with Florence Scala, who had roots in both the neighborhood and Hull-House. The other two women, Rosemary Horn and Constance Varelis were residents at Hull-House. The fourth sub-committee, on Studies in the Area, was chaired by William Jones, professional social worker and African American; the other members were Russell Ballardโ€™s wife, Katherine; Ernest Giovangelo, brother of Florence Scala. HH resident Mary Gleason and a Pauline Lewis, who lived in the neighborhood were the other members. The fifth sub-committee, on materials, was chaired by Nick Taccio, one of the leaders of the West Side Community Organization and had on it the other members were Russell Ballardโ€™s wife, Katherine; and Eleanor Wright, HH resident Thomas Wrightโ€™s wife. The sixth sub-committee, on Personnel, was chaired by Joseph Rovai, community leader; HH resident Jessie Binford; HH resident-staff & community person Frances Molinaro; Frank Gabit; Frank Paz, a leader of the Mexican community with long ties to Hull-House; William Ray and Lucy Solano. Of the entire group, the majority were Hull-House connected; the second group related to the West Side Community Organization, and most of them were Italians. โ€œTemporary Organizing Committee for the Redevelopment of the Near West Side,โ€ typed list, n.d. Near West Side Community Committee records, Box 30, Folder 403, Spec. Coll. Daley Library, UIC.

[47] Even after public meetings and major efforts to bring in other groups, the elected council of the Near West Side Planning Board was not very different from the core group at the start of the process.

[48] Council meeting minutes, Near West Side Planning Board, Inc., November 8, 1949, Near West Side Community Committee Records, Box 41, Folder 564, Spec. Coll. Daley Library, UIC.

[49] Declaration of Housing Policy for rehabilitation of An Area of the Near West Side, Nov. 18, 1949, Near West Side Community Committee Records, Box 41, Folder 564, Spec. Coll., Daley Library, UIC.

[50] Special meeting of the Planning Committee of the near West Side Planning Board, March 9, 1950, Near West Side Community Committee records, Box 41, File 565, Spec. Coll., Daley Library, UIC.

[51] Executive Committee Meeting, Near West Side Planning Board, April 20, 1950, Near West Side Community Committee records, Box 41, Folder 565, Spec. Coll., Daley Library, UIC.

[52] William F. Deknatel letter to Senator Robert McClory, Springfield, Illinois, April 16, 1953, Folder 41, Hull House Collection.

[53] I could find no evidence of the cause of death. I donโ€™t have evidence of suicide, either, but in cases where letters, obituaries, memorial tributes, etc., absolutely are silent about cause or illness, accident or sudden hospitalization, it is not too remote a thought that this sensitive, overworked, incredibly idealistic, and very disappointed man would have taken his own life. “Eri Hulbert.” Chicago Tribune, May 6, 1955, pg. C10; See the Memorial Brochure in the Eri Baker Hulbert, III Papers, Spec. Coll., Daley Library, UIC.

[54] Minutes, HHA Trusteesโ€™ Minutes, December 3, 1954, Folder 18; Minutes, HHA board of trustees, April 29, 1955, Hull House Collection, Folder 19; Staff Chicago Land Clearance Commission, Site Designation Report for Slum and Blighted Area Redevelopment Project Harrison-Halsted,โ€ September 12, 1956, pg. 3, Folder 394, Hull House Collection UIC; Minutes, HHA Board of trustees, October 26, 1956, Hull House Collection, Folder 20; Schwarzhaupt Committee Meeting Minutes, Dec. 19, 1956, Folder 392, Hull House Collection UIC; Bernard E. Schaar, โ€œComment on the Objectives of Schwarzhaupt Project,โ€ January [7], 1957, Folder 392, Hull House Collection, UIC.

[55] HHA Trusteesโ€™ Minutes, April 30, 1954, Hull House Collection, Folder 18.

[56] Staff Chicago Land Clearance Commission, Site Designation Report for Slum and Blighted Area Redevelopment Project Harrison-Halsted,โ€ September 12, 1956, pg. 3, Folder 394, Hull House Collection UIC.

[57] Staff Chicago Land Clearance Commission, Site Designation Report for Slum and Blighted Area Redevelopment Project Harrison-Halsted,โ€ September 12, 1956, pg. 3, Folder 394, Hull House Collection UIC.

[58] โ€œHull House Eases Urban Renewal Fear.โ€ Chicago Tribune, May 22, 1958, pg. E4

[59] William Deknatel, untitled typed manuscript, n.d., pg. 2. Hull House Collection, Folder 386, Spec. Coll. Daley Library, UIC.

[60] Jane Addams, Twenty Years at Hull-House, 168-169

[61]  The Jane Club had rooms for thirty young women. Helen Campbell, โ€œThe Jane Club and its Meaning.โ€ The Interior (September 17, 1903).

[62] Florence Scala and Jessie Binford to Mrs. Emmett Dedmon, Paul Jans, HH Board of Trustees, March 27, 1961, Hull House Collection, Folder 27, Spec. Col., Daley Library, UIC; Jessie Binford to Mr. Jans, Marshalltown, Iowa, June 12, 1964, Folder 297, Hull House Collection.

[63] Remarks by Florence Giovangelo Scala, loc. cit.

[64] Minutes, HHA board of trustees, April 29, 1955, Hull House Collection, Folder 19 make it clear, even before Hulbertโ€™s death, that the citizen participation aspect of the Planning Board was troublesome and needed intervention by professionals; a committee to supervise the original Schwarzhaupt grant for citizen participation was created so that Hull-House had control.

[65] Erwin Bach, โ€œPush For U.S. Urban Aid in W. Side Area. Defense Mapped By Leaders.โ€ Chicago Tribune, Oct. 13, 1957, W1; Minutes, HHA board of trustees, September 26, 1957, Hull House Collection, Folder 22;

[66] William F. Deknatel to James C. Downs, Jr., January 6, 1960, Folder 49, Hull House Collection.

[67] Minutes, HHA board of trustees, April 28, 1960, Folder 49, Hull House Collection.

[68] James C. Downs, Jr., to Mrs. Claire Dedmon, Secretary, February 10, 1961, Hull House Collection, folder 25; Minutes, Special Meeting HHA trustees, Feb. 13, 1961, Hull House Collection, Folder 25; Minutes, HHA trustees, February 23, 1961, Hull House Collection, Folder 25;

[69] โ€œThe answer of Hull-House to all inquiries about the position in this matter will be that so far the idea is only a proposal; and that when it becomes a definite plan the Hull-House board will take action and make its position known.โ€  Minutes, HHA board of trustees, Sept. 29, 1960, Hull House Collection, Folder 24.

[70] Resolution Prepared by the Committee of the HHA Board of Trustees, February 10, 1961, Eri Baker Hulbert III Papers, Box 1, Folder 45.

[71] There were some trustees who opposed the โ€œprocessโ€ but thought the university plan a good one; others felt an obligation or responsibility to side with the neighbors; others wanted to salvage parts of the 13-building complex and hoped for leverage in negotiating with the university, should it be built, for inclusion of these buildings and also social work programs. These last mentioned trustees worried that taking a stance against the university prematurely would weaken Hull-Houseโ€™s ability to negotiate.

[72] Minutes, HHA trustees, February 23, 1961, Hull House Collection, Folder 25.

[73] Minutes, HHA trustees, February 23, 1961, loc. cit.


 [RS1]This has to be corrected

 [RS2]Now know the connection.

 [RS3]

Art For the People, Art By the People: The Visual Arts at Hull-House, 1893-1945

This post was written by Rima Lunin Schultz and presented at the Teacherโ€™s Workshop at the Terra Museum of Art, on August 3, 2004

Today I want to tell you something about the history of Hull-House and the role of the visual arts in its programs and philosophy.ย  Before I do that, however, I need to talk briefly about the reform movement that gave birth to settlement houses all over the world, and to attempt a definition of what a settlement house is.ย  It is easier to begin by establishing what a settlement house is not.ย  It isn’t a charity organization, or a relief bureau, or an unemployment center, though at different times settlements provided direct relief and helped the unemployed.ย  It isn’t a recreation center or a day care center, although settlement houses have sports and recreation programs and often have day care and nursery facilities.ย  The settlement house, an approach to social reform with roots in religious, scientific and economic ideas in the mid-nineteenth century, was a method for serving the poor in urban areas by living among them and serving them directly.ย  Settlement houses initially attempted to bring art and culture to the industrial districts of cities, areas where working class people struggled to survive as they dealt with the new factory system: low wages, long hours, cyclical unemployment and no insurance or healthcare.ย  Child labor became a necessity for the majority of families.ย  Women and children often worked in sweatshops or did piecework in their congested tenement apartments.

The early leaders of the settlement movement were motivated by a deep concern for the spiritual and emotional well-being of the working class as well as their material needs.ย  How could human beings survive without art, without any beauty in their lives, without the opportunity for leisure? There was also a concern for the growing gap between the social conditions and experiences of the poor and working classes and the rising standards of living for the middle and privileged classes.ย  The settlement movement adherents began to critique the traditional Christian charity organizations and the church establishment who held the poor personally responsible for their condition.

There was a growing sentiment among elements of the privileged classes that demanded a new understanding of the social and economic inequality of society.ย  In religion reformers talked about a “social gospel” and began to reinterpret the Sermon on the Mount as a call to action to change society.ย  The new field of social science called for the study of society in scientific terms.ย  In the arts there were writers who questioned whether or not industrialism was really progress.ย  They saw the new technology changing the traditional relationship of labor and craft or art and in the deskilling and dehumanizing work experienced by factory laborers, they believed that humanity was being alienated and denigrated.ย  The consequences of having masses of industrial workers, dehumanized and severed from art and culture, the sources for civilization and moral values, was a frightening specter that haunted many of the thinkers of the age.

The educated young men and women who joined the settlement movement believed that they had to find the answers to the industrial and labor questions not in universities or in bookish pursuits, but experientially.ย  They had to learn about life from life itself.ย  Yet they also understood how key working class literacy was in developing the shared social goals for transforming the economic system along social justice lines. ย Sharing the life of the neighborhood was the key to the settlement housesโ€™ developing vision. Dispensing art and culture was quickly supplemented by the task of meeting more obviously pressing needs: providing childcare, kindergartens, and classes for adultsโ€” homemaking, parenting, vocational training, and the English language for immigrants. Workers who saw children playing in streets and alleys every day began to campaign for city parks, and helped create the first public playgrounds.

But the path led deeper stillโ€”to the economic and political roots of certain social problems. Hull-House residents were astonished one Christmas when local children refused offered candy, till they learned the children worked long hours in a candy factory. Workers investigated living and factory conditions; they gathered statistics about child labor, housing, tuberculosis, and documented the circumstances that drove young women into prostitution. Jane Addams found herself riding with the garbage trucks, mapping their routes and keeping notes on their performance. (She eventually got herself elected garbage inspector for her ward.) Settlement workers aroused public opinion, teaching their neighbors to demand more from those running for political office.

What motivated Addams and Starr to live among the poor?ย  Addams and Starr were college friends; both were born at the start of the American Civil War and came from families whose roots went back to New England.ย  Their fathers had migrated to Illinoisโ€”John Huy Addams became a wealthy, influential civic leader, a state senator and friend of Abraham Lincoln.ย  Caleb Starr never acquired wealth and as a farmer and small-town proprietor of a pharmacy, had participated in agrarian protest politics after the Civil War.ย  Both men favored abolition, political rights for freed slaves, and education for women.ย  Addams graduated from Rockford Female Seminary in 1881 and for the next eight years searched for a way to escape the domestic boundaries of upper-class Victorian family life; Starr, from an economically more modest but cultured family, only completed the first year at Rockford and, for financial reasons, took a job as a schoolteacher.

In 1888, the old school friends who had maintained an engrossing and complex relationship largely through letter writing, traveled to Europe together and, in the process of visiting cathedrals, museums, and finally, Toynbee Hall, a social settlement located in a London slum, began to imagine a life together as residents of a similar establishment in Chicago.

Coming out of rural, small town backgrounds, Addams and Starr were raised on ideals of democracy and Christianity; college educated, they had read widely in the humanities including the classics, the works of the romantics, and the critiques by men like John Ruskin and William Morris of the industrial age. They were dismayed by the excesses of Gilded Age materialism and political corruption, protested the conventional values that kept educated women dependent and subordinate to family claims, and had become aware of the deep social and economic inequalities that had emerged among the different classes in industrial cities.ย  They had come to believe that traditional Christian charity was useless when it came to dealing with social injustice.ย  They also had absorbed a Ruskinian sensibility of how labor and art were connected.ย  You are familiar with the song “Bread and Roses” in which union girls demand not only sustenance for the body, but food for the soul.ย  This, really, was the basis of all the efforts at Hull-House to support their neighbors; it meant that Hull-House residents worked in the arenas of politics and trade unionism in support of better material and working conditions at the same time that efforts had to be made to provide the opportunity for soul nourishment and this latter goal in a variety of ways, was expressed through activities with the arts.

Hull-House grew from its opening in 1889 in a shabby, but once elegant home in the heart of a working-class district, to, by 1907, a thirteen building complex. At Hull-House the visual arts took center stage from day one.

Addams wrote: “The attempt of Hull-House to make the aesthetic and artistic a vital influence in the lives of its neighbors, and a matter of permanent interest to them, inevitably took the form of a many-sided experiment” and thatย  “the first furnishings of Hull-House were therefore pictures. They were hung upon all the wall spaces and were largely selected from photographs”[1] which Addams and co-founder Ellen Gates Starr had purchased in Europe the previous year.ย  The first building erected for Hull-House, the Butler Art Gallery Building, Addams wrote, “contained a little art-exhibit room, carefully planned with a high, dark wainscoting and a north light, that fifty pictures might be exhibited to the best advantage.”[2]ย  Opened in 1891, one and a half years after the settlement had been established, it had shown, by 1895, eight loan exhibits: five of oil paintings, one of old prints and engravings, one of water-colors, and another of photography.

The construction of the Butler building for the purpose of bringing great art to a working-class immigrant neighborhood was such an unusual event that the opening art show was reported in great detail in the Chicago press.ย  Chicago writers called Hull-House the “Chicago Toynbee Hall”[3] indicating the link between the local experiment in settlement house work and the pioneering work of London’s Toynbee Hall settlement.ย  American journalists knew that Addams and Starr were part of a larger social reform movement that was gaining adherents in industrial cities in Western Europe and the United States.ย  They also realized that one of the central convictions of this new experiment in working with the poor was the idea that the arts had a crucial role in the lives of the “have nots” as well as the “haves” in society, that the privileged in society had an obligation to bring art to the masses.ย  The list of wealthy Chicagoans who attended the opening of the Butler Gallery, and who had loaned works of art from their own collections for the exhibit, was a mirror image of Chicago’s leading art patrons and trustees of the Art Institute of Chicago.[4]

All of the interior spaces at Hull-House can be considered informal galleries.ย  This was true of the public areas of the Hull-House complex in which activities and programs were open to the neighborhood and generally were free of charge, as was the Butler gallery.

It was also true of the areas where the Hull-House residents lived.ย  These residents were women and men, mostly college educated, who came to Hull-House to live for from six months to several years or, in the case of Enella Benedict, the head of the Hull-House Art School, from 1892 until her death in 1942, a half century.ย  They came not as social workers or teachers who received salaries, but as volunteers who paid room and board for the privilege of experiencing the settlement house community life.ย  Often they held “day jobs” and were able to volunteer in evenings and on weekends, assisting in the social clubs and classes that proliferated.ย  Benedict, for example, the daughter of wealthy Lake Forest, Illinois, merchant and civic leader Amzi Benedict, studied at the Art Institute of Chicago and in France.ย  She shared with Addams and Starr their โ€œvision of the interdependence of art and society and the role of the arts in improving the lives of the urban poor while renewing the dignity of labor.โ€[5]ย  Benedict taught drawing, painting, and anatomy at the Art Institute of Chicago in the morning and then attended to her duties at Hull-House and, like the other residents, paid for her room and board and participated in many Hull-House activities besides the studio arts that she taught and supervised.

In the early years women artists and crafts persons including Benedict, Ellen Gates Starr, Alice Kellogg Tyler, and Norah Hamilton taught art at Hull-House at the same time that they were artists-in-residence.ย  Their works included neighborhood scenes, portraits of each other and of neighbors.ย  Domestic and public spaces were loosely defined in the Hull-House complex and the genre art produced there reflects this aspect of the social settlement.ย  One of the outcomes of this interrelationship between the neighbors and the residents was an art that reflected the immigrant quality of the neighborhood

Here again Benedict serves as an interesting example.ย  Her landscape paintings were in the style of the impressionists and the subject matter reflected scenes away from the urban life at Hull-House.ย  Two paintings demonstrate the influence of the neighborhood.ย  The first, the portrait of Edith, is an example of how the women artists painted what was familiar.ย  Edith was a neighborhood girl yet she is painted in this instance in the style of impressionism and just as Benedict might paint her own niece.ย  The second example is a pastel of men walking rather somberly along a city street.ย  Although there is no date for this drawing, it clearly shows the influence of urbanism and the plight of the unemployed.ย  Benedict, along with the other residents who lived at Hull-House during the economic depression of 1893 and 1894, and witnessed the unemployment lines in the neighborhood began to paint the poverty that she saw.ย  .

From the earliest days artists and photographers became interested in Hull-House and its neighbors.ย  By the time that Addams published Twenty Years at Hull-House with Autobiographical Notes, in 1910, photographs by the famous social photographer Lewis Hine and by the illustrator, Norah Hamilton, a Hull-House resident, were graphic representations indelibly etched in the consciousness of countless Americans.ย  In general, the images of immigrants produced by Hull-House residents were humanistic and constructive rather than derogatory and dehumanizing.ย  Although they did not avoid all the pitfalls of immigrant stereotyping, in the context of the national debate on immigration policy that was characterized by a pseudo-scientific and erroneous racial theories, Hull-House treated immigrants as individuals deserving of respect and protection whose traditions should be preserved even as adaptation to new American conditions was encouraged.ย  These images, of course, were also viewed by the immigrant neighbors themselves and were part of the visual experience of Hull-House.

One particular immigrant woman was depicted by artists and photographers at Hull-House.ย  Her image by Lewis Hine was included in the serial version of Jane Addamsโ€™ Twenty Years at Hull-House with Autobiographical Notes in 1910.ย  That was the same year that the book length Twenty Years appeared and in it the immigrant womanโ€”I have called her a โ€œneighborhood Madonnaโ€ appears in a drawing by Norah Hamilton.ย  A photograph of the Hull-House art studio shows our โ€œneighborhood Madonnaโ€ at rest, perhaps awaiting the moment when she will pose for an artist.

For Ellen Gates Starr, providing art within the buildings of the Hull-House complex was not enough.ย  What about the child in the crowded and unadorned schoolroom in the neighborhood public school? Or the family that lived in a tenement flat that had no objects of beauty?ย  Two programs emerged almost simultaneously: lending pictures to the poor and providing pictures for the public schools.ย  Starr initiated these programs at Hull-House but realized that one settlement house could never meet the needs of a city like Chicago.ย  The program of lending pictures to the poor spread to other settlement houses that had been established in other immigrant and working-class districts and were influenced by ย Hull-House.ย  For example, a Chicago newspaper reported that โ€œThe success of the circulating picture gallery at Hull-House, Chicago, induced the promoters of the Friendly Aid House, which is under the guardianship of All Soulsโ€™ Unitarian Church, to introduce such a featureโ€[6] at its settlement.

Starr was concerned about the school children, especially those in cities like Chicago where the culture of the streets seemed to take away a childโ€™s innocence just as the need for child labor sapped the young and turned them prematurely old.ย  She wrote that the nourishment to life of one good picture to supplant in interest vicious story-papers and posters; of one good song to take the place of vulgar street jingles, cannot, I believe, be estimated or guessed. A good picture for every household seems unattainable until households can produce, or at least select, their own; but certainly a good one in every schoolroom would not be unattainable, if the public should come to regard it as a matter of moment that the rooms in which the children of the land spend their most impressionable days be made beautiful and suggestive, instead of barren and repellent.โ€[7]ย  Starr was able to enlist the cooperation of a committee of women from the Chicago Womanโ€™s Club, one of the key social reform organizations of women in the city, to form the Chicago Public School Art Society in 1894.

At Hull-House formal art education for children achieved a high priority, again because of the belief that childrenโ€™s moral and spiritual development depended upon exposure to transcendent ideals, especially in a world so rooted in materialism and so lacking in places of beauty.ย  The Hull-House Art School for children emerged from the original art studios in the Butler building.ย  It moved from that location to the top floor of the Smith or Childrenโ€™s Building in 1910; there after years of working by gas light, the artists were delighted to have natural lighting from above.ย  Children proceeded in their art education along a systemic line of study and were exposed to a variety of media, starting in beginner classes for the very young to more advanced classes in technique and composition for older children.ย  A pottery program in the art studio appealed to older children.ย  Children were encouraged to sketch out of doors, whether the outside consisted of the neighborhood in the vicinity of Hull-House, or on the grounds of the Bowen Country Club, the summer camp in Waukegan, Illinois, operated by the Hull-House Association.ย  As the pictures illustrate, the Hull-House complex created an environment where reading, sketching, designing a piece of pottery or painting on an easel were normal activities for working-class kids from the neighborhood.

Starr and Addams were interested in art for adults as well as children because they associated it with the development of a collective spirit in a people.ย  Art had spiritual and civilizing power and therefore was crucial in the character formation of young people and in the resurgence of ethical behavior among adults whose labor in dehumanizing ย ย ย ย industrial jobs alienated and demoralized them.ย  This worked two ways at Hull-House.ย  On the one hand, the realities of industrial life forced an enlightened citizenry to meet the challenge by examining the conditions under which most immigrants lived and worked and, finding them wanting, make the appropriate changes.ย  For the Hull-House residents, immigrants presented the United States with a challenge to live up to the ideals of democracy; the way to teach immigrants about democratic values was to work with them in political and labor alliances to reform American society and, in the process, strengthen democracy.ย  There was also the challenge of providing opportunities for immigrants to engage in arts and crafts, to attend good theater and listen to great music, to have objects of beauty close at hand, and, for the children, to provide opportunities for education in the visual and performing arts.ย  Hull-House became known for its music and art schools; children had to show potential talent or aptitude to take individual music classes and they also had to pay a fee for lessons, albeit a minimal one.ย  There were always scholarships available.ย  Indeed, children with talent were cultivated.ย  Music and art teachers took students in small groups or individually to symphony hall or to the opera or a theatrical production downtown.ย  Addams sought scholarships to private schools and the University of Chicago in cases where a young person from the neighborhood exhibited outstanding promise.

We now come to the final portion of my talk today.ย  We turn to the concept of art by the people and examine its manifestation in the Labor Museum, conceived more by Jane Addams than by Ellen Starr, but out of a shared concern for the denigration of craft and the isolation of labor from art.ย  The ideas that informed the Labor Museum were partly from the arts and crafts movement.ย  But Addams ignored certain key aspects of the art and labor theories.ย  For one thing, she never attempted to create an arts and crafts shop that was owned and managed cooperatively by the workers.ย  I do not have time to talk about the Hull-House Kilns and the Mexican pottery production that was supervised by Myrtle and Beals French from 1927 to 1937, but there is much information about this aspect of art at Hull-House on the Urban Experience websiteโ€”but my understanding of the structure of ownership and authority in terms of creation and distribution of the ceramics and pottery produced there, is that the work was done under very conventional lines, with the workers being subordinate both in terms of creativity and in outright ownership.ย  The ideas of the arts and crafts movement, sans the communitarian or worker-controlled shops, informed many of the programs incorporated into the daily life of the settlement as well as the way in which the settlement evolved architecturally and decoratively.ย  Addams had observed how the children of immigrants seemed to devalue the traditions and crafts of their parentsโ€™ homeland.ย  Children did not like to see their parents wearing ethnic-looking clothing, for example.ย  Addams also observed older women and men who never quite adjusted to American society.ย  Often she found out that an individual who had had a talent for woodworking and had expressed himself through a folk art that had no purpose in America.ย  The Labor Museum, which opened in 1900, was conceived to address these issues of displacement, intergenerational conflict, and deskilling.

Hull-House used art to advocate for democratic principles, to teach democratic values by living up to the highest standards of conduct with respect to the rights of others; and to encourage the broadest, most inclusive cultural as well as civic engagement of the whole community.ย  Long before the New Deal programs for theater and art inaugurated a period of intense public support for the arts in a democracy, Addams critiqued the narrow eighteenth century notion of democracy as being equated almost entirely with representation through voting, and sought to make democracy relevant to the cultural needs of the masses.

[1] Jane Addams, “The Art-Work Done by Hull-House, Chicago,” Forum 19 July 1895, p. 614.

[2] Ibid.

[3] “A Local Toynbee Hall,” Chicago Inter-Ocean (April 24, 1892): 4.

[4] http://tigger.uic.edu/htbin/cgiwrap/bin/urbanexp/main.cgi?file=cultural.ptt&id=857 (link no longer works)

[5]Cheryl R. Ganz, “Enella Benedict,” in Women Building Chicago 1790-1990: A Biographical Dictionary, ed. Rima Lunin Schultz and Adele Hast (Bloomington & Indianapolis: Indiana University Press, 2001): 75-6.

[6]“Pictures Lent to the Poor,” (unidentified March 1896 clipping) Hull-House Association Records, Scrapbook III, Folder 508, 71; JAMC, Special Collections, The University Library, The University of Illinois at Chicago.

[7] Ellen Gates Starr, “Art and Labor,” Hull-House Maps and Papers: A Presentation of Nationalities and Wages in a Congested District of Chicago, Together with Comments and Essays on Problems Growing Out of the Social Conditions (New York: Thomas Y. Crowell, 1895), 165-166.

“Staging Halsted Street (1939): An Unusual Production in Hull-House’s Theatrical History.”

Before I launch into my formal talk, I would like to acknowledge the fine work of Ellen Skerrett, associate editor of the history website Urban Experience in Chicago: Hull-House and Its Neighborhoods, 1889-1963. In the process of preparing the section of our website that deals with the Performing Arts at Hull-House, we were able to locate the script for the play, Halsted Street, perhaps the only copy that has survived; we also found a wonderful unpublished memoir of a Hull-House resident, Donna Hodgman. Her manuscript contains the fullest description of the events surrounding the production of Halsted Street.ย  Ellen wondered if Donna Hodgman’s son, Christopher, nicknamed “Kit,” who lived with his mother and father in one of the residents’ apartments in the Boys’ Club Building at Hull-House, could be found. Ellen tracked him down and I am happy to announce that he is here today. Dr. Christopher Hodgman’s notes about his boyhood at Hull-House, Donna Hodgman’s manuscript, and the Halsted Street script are all on our website in the Historical Narrative section under the Performing Arts at Hull-House, along with many other texts and images. Sarah Hoadley, also an associate editor of the website, prepared electronic versions of the documents and has written the editorial notes. Dean Judith Kirshner of the College of Architecture and the Arts and Professor Margaret “Peg” Strobel, Interim Director of Hull-House Museum have been generous in their support of the website and this theater project.

My role today is to introduce an audience in 2003 to the late 1930s depression- milieu in which the unusual Hull-House theatre production, Halsted Street, was conceived and staged. Economic and social events following the 1929 Wall Street crash and the spreading unemployment that continued through the 1930s had changed the political and cultural landscape of the American nation. The Federal Theatre, part of the New Deal’s WPA, introduced millions of Americans to new formsโ€”the Living Newspaper, agit-prop drama, the drama of social criticism. In Chicago race and class issues erupted and protest politics took shape. The National Negro Congress (NNC) had strong Chicago support; Theodore Ward’s play Big White Fog, a Chicago Federal Theatre production, created controversy with its critique of capitalism and portrayal of Garveyism and socialism as alternatives for the black masses.

At Hull-House, the oldest and the largest settlement house in the United States, internal changes combined with the larger social forces in society. The death of Jane Addams in 1935 had personal and institutional repercussions for the residents and staff. Yet newcomers continued to find their way through the front doors. Donna and Crosby Hodgman had come to Hull-House because they “kept reading about the depression in the New Republic” and thought that residency at Hull-House would connect them to the struggle.[1] The Hodgmans, with their nursery-age son, Kit, moved into one of the residents’ apartments in the Boys’ Building. During the day Crosby taught at the Chicago Latin School, an expensive private institution; Kit attended the nursery in the Mary Crane School in the Hull-House complex, and Donna taught citizenship classes and then became the “House Manager.” We learn about the staging of the play Halsted Street and about conditions at the famous settlement from 1936 to 1942, through the “eyes” of Donna Hodgman. Her status as a newcomer freed her from the worst sort of sentimental memorializing of Jane Addams and her critique of the dingy and worn out interior spaces and the breakdown of leadership among the remaining Hull-House standard bearers is confirmed in the Trustees’ Minutes of the Hull-House Association. Hull-House was in trouble in 1936.[2] 

With the arrival of Charlotte Carr in 1937, the settlement once again reverberated with the vitality and enthusiasm of women and men with a cause.  There were still serious administrative and budgetary problems, but there was an infusion of federal funds, WPA workers, and strong leadership. By 1938 there were ninety-eight residents at Hull-House; seventy-five were paid salaries, and there were between sixty and eighty volunteer workers.. [3]

The desegregation of Hull-House began in these years and coincided with the publication of Hull-House Magazine, edited by William Schenk, with associate editors Willard F. Motley and Alex Saxton.ย  Motley did not reside at Hull-House but participated in the cultural life of the settlement, calling it his university; an African American writer steeped in the lore of the West Side neighborhood, he and Alex Saxton developed a friendship, one of the inter-racial friendships that became possible at this time in the New Deal milieu of Hull-House. Saxton, a Hull-House resident, said he first became aware of racism because of his engagement and belonging to the Communist Party. He read Howard Fast’s Freedom Road and learned black history from the CP branch in Chicago. Other residents at the time included Communists Harvey and Jessie O’Connor; Harvey was formerly editor of The People’s Press; Schenk collaborated with Jess Ogden on the Halsted Street script. [4]ย  Alice Treleaven, who had been employed by the Adult Education Project of the W.P.A., teaching workers’ education at Chicago Commons, had left that position to work at Hull-House. Jerry Ingersoll, a Dartmouth College graduate developed classes in civics and labor problems. Leah Dickinson, an organizer for the Amalgamated Clothing Workers who had six years’ experience in settlementsโ€”Kinsley House in Pittsburgh, and Christadora and Union settlements in New Yorkโ€”was Charlotte Carr’s assistant. [5]

There are three observations I want to make about Hull-House in the late 1930s. The first one is that it was extremely difficult for old timers who remained after Addams’s death in 1935 to see anyone else in the leadership role at Hull-House, either as Head Resident or on the Board of Trustees.ย  Even as they reminded themselves that Jane Addams would be the first to embrace change, they lived in their memories as they attempted to work in the present.ย  Charlotte Carr’s five years were difficult ones since she made the trustees and older residents uncomfortable from the first moment she arrived.ย  The trustees, who were more cautious than the residents, had to be persuaded to allow the Chicago Civil Liberties Committee to rent Bowen Hall for a meeting to discuss the policing of industrial disputes with a showing of the Paramount newsreel of the 1937 Memorial Day riot in South Chicago near the Republic Steel Plant. [6]ย  They found it difficult to find “new blood” to invigorate the Hull-House Association board and continued to look for trustees who replicated their own class and social status.[7] This makes the staging of Halsted Street an unusual Hull-House production.

My second observation is that the Hull-House facilities were in terrible disrepair. The worst part about the physical deterioration of the place was the pressure it placed on the trustees to fund raise for maintenance and upkeep at a time of economic crisis.ย  In 1929 at a conference of settlement leaders that included Graham Taylor of Chicago Commons, Mary E. McDowell of the University of Chicago Settlement, and Addams, the three icons of the social settlement movement were asked what they would do differently if they had the chance. Addams replied that perhaps they had grown too large and were hampered by the physical space they inhabited: “There are too many roofs,” she noted, and the implication was that they all needed repairs.[8] Charlotte Carr had to deal with the repairs at the same time that she was trying to develop new programs. When federal programs ended in 1939, Carr and the board began to dip into unrestricted endowment funds to cover the annual deficit. When the trustees refused to accept her budget for 1943, Charlotte Carr resigned. [9] Carr and Ogden’s “freedom” to stage Halsted Street was directly related to the infusion of federal money to support the Workers’ Education Department staff at Hull-House.

ย My third observation is that even in this period of upheaval and change, the value of artistic expression in the lives of ordinary people continued to be one of the major goals of Hull-House and was embraced by oldtimers and newcomers alike. The production of Halsted Street in 1939 was an affirmation that art had a fundamental role in people’s lives.

The various federal arts programs during the New Deal had much in common with Hull-House’s legacy of “Art for the People.” One of the first activities at Hull-House had been the Shakespeare Club, conducted by Ellen Gates Starr, in which neighbors read plays. A raised space in the first floor parlor or drawing room became a “stage” for performances, followed in 1893 with the construction of theater space in the Gymnasium and Coffee House Building and, finally, in 1899 when the Hull-House Theatre was built.[10] 

Theater at Hull-House always had social objectives and these were privileged above any “art for art’s sake” approach. As Stuart Hecht has detailed, Addams selected directors who shared her values and endorsed the inclusive participation of children, adolescents, and adults in social drama clubs. Only the Hull-House Players, directed by Laura Dainty Pelham from 1900 to 1924 and, after her death, by Maurice J. Cooney from 1924 to 1941, were exclusive in the selection of participants.

Edith de Nancrede’s work with the Hull-House Children’s Theatre and the multitude of social drama clubs she directed, was the purest expression of Jane Addams’s concept of the function of drama [11] After Nancrede’s death in 1936, Hull-House struggled to reconfigure its drama programs. Helen Tieken Geraghty, a student of Max Reinhardt, became director of the Actors’ Guild at Hull-House.  She, too, saw the social and educational possibilities of theatre and proposed a Hull-House People’s Theatre in 1939 as an artistic and cultural expression of the various ethnic and racial groups in the neighborhoods near the social settlement. The proposed People’s Theatre, like the Hull-House Labor Museum, established by Jane Addams in 1900, would be a showcase for the different cultural traditions found in the neighborhood with the goal of developing mutual respect and understanding. Unfortunately, there was no money for such an initiative. [12]

It was in Jess Ogden that Charlotte Carr found the most able practitioner of the Hull-House theater spirit. He incorporated โ€œthe Mexicans, Negroes, Greeks, and Italians of the neighborhood” into the process and encouraged a collaborative spirit[13] but according to Donna Hodgman, Ogden was the creative force and the play, Halsted Street, was his creation.  “I couldn’t make head or tail from the descriptions I heard,” she wrote. Ogden talked about using blackouts instead of a traditional curtain. The stage was to have several levels that she “couldn’t visualize . . . at all!” [14] There was going to be a model streetcar on stage that was going to contain the speaking chorus. An elevated historical panel was to be constructed “in which true stories of the past will be re-enacted.” [15]   Advertised as an “animated mural” Halsted Street was billed as a play about “the concept democracy” that had as its main theme “the need for racial cooperation.” [16] Along with the model streetcar, skits and the elevated historical panel, the play also used poems by Carl Sandburg, selected by William Schenk from the poet’s Chicago Poems, from Slabs of the Sunburnt West, and From Smoke and Steel. Schenk’s note in the typescript reads: “In 1914, Carl Sandburg, the American poet, extended an invitation to the cartoonists of Chicago. This May [1939] Hull-House accepts. The poet said, “Come you cartoonists/Hang on a strap with me here/At seven o’clock in the morning/On a Halsted Street Car.[17]

Although we have recovered the file that contains the typescript for the play, including the chorus and at least one historical scene, the Sandburg poems, and a rough drawing of the stage set with some stage directions, we can only speculate just how Halsted Street was staged.[18]

The Halsted Street production evoked the themes and theatrical techniques of the experimental plays of the Federal Theatre Project. Prior to Carr’s arrival, Hull-House had had little if any contact with the Chicago branch of the Federal Theatre Project, although its Children’s Theatre group had won a National Youth Administration drama competition. [19]

Carr had no particular interest or knowledge of the performing arts. A Vassar graduate, she had served as a policewoman in New York City, patrolling the Brooklyn Bridge during World War I, as Secretary of Labor of Pennsylvania under a liberal and reform administration, and as a director of relief in the early years of the Great Depression in New York City under Mayor LaGuardia. She had never worked in a settlement house.[20] But she liked the idea that permeated the Federal Theatre Project and Workers’ Education in the 1930s: using theater for workers’ education and for social change. 

 In the five years that Carr was Hull-House’s director, Carr and her staff used drama and pageantry to resolve ethnic and racial conflicts and to encourage those groups in the neighborhood who remained marginalized from the settlement to enter its doors.  One of the most important decisions Carr made was to invite journalist Dewey R. Jones and his wife Faith Jefferson Jones, a social worker, to become the first African American residents at Hull-House. They lived at Hull-House with their son, Dewey Jr., who was a toddler.

Carr asked Dewey to conduct a study of black needs at the settlement; he had been a special assistant on black issues to Franklin Roosevelt’s Secretary of the Interior Harold Ickes, and had been involved with Ickes’ efforts to guarantee integrated public housing in Chicago.[21]   Jones’ too short stay at Hull-House (he died in April 1939) was just long enough for him to leave one of the few documents we have that addresses the conditions of race relations in the neighborhood and at the settlement. What he found was that the neighborhood in 1938 included the largest Italian population in Chicago, the largest Mexican colony and the second largest black colony. Almost no inter-racial work had been done by Hull-House, a fact that Jones believed  “was [not] because of any policy of the House or any decision on anyone’s part but just because of a sort of taking for granted that if an institution was in the heart of the community and had facilities, everyone who needed them would take advantage of them.” [22]

Jane Addams, Jones discovered, had established a Negro mothers’ club in 1927 that met at Hull-House but never became part of the general settlement community. “They were not on any mailing list. They had their meetings only. Their children came the same night, and when the Federal government began to assist in this type of program Hull House acquired some WPA and NYA workers and one of them was assigned the job of corralling the Negro children and keeping them busy.” [23] Hull-House was not alone in its de facto segregation: the American people from top to bottom experienced the Great Depression, the New Deal, and World War II as a segregated society.

Charlotte Carr’s decision to create two new departments at Hull-Houseโ€”the Community Service Department and the Workers’ Education Departmentโ€”along with her reorganization of the settlement’s administrative structure, opened the door to inter-racial activities. The first dealt with the relationships of neighbors and nationality groups to one another, to their environment, and to Hull-House. The second expanded the traditional courses in citizenship and English to include outright education in workers’ rights, union organization, and issues of management and labor.

There were visible cultural expressions that I believe were the outcomes of her new approach.ย  In 1938, the four major groupsโ€”Italian, Greek Mexican and blackโ€”cooperated together for the first time to present the Christmas tableaux, an annual event at Hull-House that had been, since its inception in the early years of the settlement, an expression of a universalized Christian symbolism. The 1938 version incorporated the “Italian conception of the birth of Christ; the Blessing of Christ in the church according to Greek tradition; ‘Pasada,’ the entrance into Bethlehem, according to Mexican conception; and the Adoration of the Magi from the black point of view. The play was accompanied by songs rendered by the group whose tableaux was on view at the time.” [24] This direct identification of the pluralism that existed even in the context of a collective celebration of Christmas was new for Hull-House. Differences in religious expression had been subsumed within the high culture of European or Western Christian artโ€”the kind of images visitors to the Art Institute of Chicago could see; the music played at Christmas time at Hull-House was the kind performed by the Symphony Orchestra and in the Protestant and Americanized Catholic churches that still resisted the ethnic or regional customs and popular art of marginal ethnicities and races. This may have come about as a result of Jane Addams’s conviction that the settlement was a neutral ground in terms of religious belief; the Christmas tableaux could be construed as embodying universal ethical elements because the lack of denominational specificity was a guard against religious observance. Christmas was a cultural celebration at Hull-House rather than a religious worship service.

Only in the Labor Museum’s exhibitions and in the shops where textiles and pottery were produced, and in the ethnic drama productions by Greek, Italian, and Jewish social groups had Hull-House prior to 1935 highlighted the specificity of ethnicity; in these cases the focus on ethnic arts and crafts were part of an effort to promote mutual appreciation and respect between different ethnic groups.

 The introduction in 1938 of ethnically specific religious expression in the Christmas Tableaux was dangerously close to incorporating the religious observance of each group. What it may have risked in terms of neutrality it gained in the sense of authenticity and empowerment ethnic and racial groups experienced when they were able to demonstrate their faith in a public place alongside others from related religious traditions.

In a similar vein Jess Ogden described the manner in which theater functioned to bring “about a harmony of the various groups with which the settlement must work.” He noted that there was a large Mexican group that had three factions composed respectively of Catholics, Communists, and liberals.  Someone in the Hull-House staff came up with the idea of having a real Mexican fiesta. This became an opportunity to unite the various factions. Hull-House during the Addams’ s years scheduled an Italian night or a German night, but never attempted to incorporate the Italian street festa as a vehicle for promoting mutuality and understanding between the various factions within the Italian community.  Ogden explained how Hull-House used the Mexican fiesta: “The older people of all factions were invited to recall traditions and customs and to help with the planning of the carnival. The younger people went to work on pageants and plays, each faction planning something in which it was especially interested. The help of other actors were enlisted and three episodes in the history of Mexico were finally produced before an audience composed of the entire community in carnival mood. Not only did the factions forget their differences in admiring each other’s contributions, but also there resulted a better understanding on the part of other groups in the community.”  Both Ogden and Helen Tieken Geraghty, who also worked on the carnival, believed that the change wrought by the fiesta was not merely temporary but had lasting value. [25]

Halsted Street is the best example of how Carr and Ogden used the arts to foster racial and ethnic integration and cooperation. Hodgman said Ogden wanted the play “to have guts” and believed it had the power to pull together “all the existing dramatic groups” and in addition, “dozens of others” including “neighborhood people as well as residents.” [26] She quoted Ogden as saying, “I’d like to tie up all these little crotchety groups we’ve got here at Hull House, get ’em to work together on one big project that is as socially significant as all Hell.  Get a lot of residents in on it too. Be good for ’em.” [27]

One of the residents who joined the project was Donna Hodgmanโ€™s husband, Crosby, who was asked by Ogden to take the part of the streetcar conductor. [28] “All Hull House now waited, breathless and highโ€”and I too,” Donna wrote. A week before the preview performance the whole concept clicked for Donna: “Now at last I saw the stage with five levels . . . and the blackouts. I heard the music and the speech chorus. I saw little short skits on all sorts of subjects because all subjects belonged to Halsted Street the longest street in Chicago.” [29] 

Donna repeated the choral lyrics: “All race . . . all creeds . . . all colors . . . all degrees. Halsted Street was everything and everybody: Chicago and the world. Love was on Halsted Street, and fighting, and stealing, and dirt, and joy, and nobility.” [30] 

The chorus of Halsted Street sang out: “Jane Addams saw and faced and met/These things that are to show/Hull-House must see, and face, and strive to meet. There’s a keener fire under the melting pot right now/Than culture. It is common need.” [31] The message of the play is that the issues of industrial democracy have immediacy in this era of the Great Depression and provide the experience all share: “This is our living, all around us/ This is neither Negro Mexican nor Greek/ Nor Jew, Italian, nor Irish/[32]

Halsted Street previewed on May 19, 1939, to an audience of Hull-House Associates, a group that Charlotte Carr had put together to develop national support for the settlement. Dr. Robert Morss Lovett, a former Hull-House resident, who now taught literature at the University of Chicago and was the editor of the New Republic, was the main speaker at the dinner that evening, followed by the production of the play, Halsted Street. [33] Following the preview for an audience who could pay one dollar for a ticket, the play was scheduled for the neighborhood, with tickets priced at fifteen cents.[34]

For Donna Hodgman, the play was a success: “Hundreds of people acted the parts of their own lives; hundreds of others saw, and could not avoid the knowledge that they saw themselves.” [35] She counted the success in the fact that “the warring factions of Hull House had learned to work together on a single project with unprecedented success. We knew that Mexicans, Negroes, Italians, Greeks, and just plain Americans had, for a little while, stood shoulder to shoulder.”[36] Yet a play is never the panacea for what ails an institution like Hull-House in 1939. Three years later the Hodgmans left. Donna had been completely exhausted by her Hull-House job as House Manager.[37]

 Jess Ogden, who felt that with Halsted Street they had “reached the saturation point” on pushing issues of social significance, turned once more to using the stage as a way of “getting all those warring groups working together.” [38] His production of The Pirates of Penzance included “almost everyone who had anything to do with Hull House” and was a triumph in cooperation “all the more significant” since Ogden left the settlement in 1941, one month before the opera was produced.[39] His leaving was the result of continuing budget problems. It also signaled the end of Hull-House’s engagement with the rhetoric and style of the New Deal experiment with theater for the people. The following year, Charlotte Carr ended her five-year affiliation with Hull-House. In a dramatic and public declaration, Carr announced that she had been fired and accused the Hull-House trustees of censoring her political activities. While the trustees denied that Carrโ€™s political activities were the reason for the break-up, her radical stances were definitely part of her conflict with the board.

Halsted Street reflects the pre-war New Deal Era; although we do not have a complete script of the play, what has been preserved clearly indicates the cultural and political point of view of the residents and staff whose support from federal funding allowed them a significant degree of independence to produce what, by 1942, might appear to be too controversial a production.ย  The hope of American democracy and the overwhelming faith in the diverse people of the neighborhood to transcend their differences and forge a better world calls out to us from the fragments of the script, the handwritten stage directions, and the descriptions of the production contained in the unpublished manuscript by Donna Hodgman. In 2003, the play continues to evoke a sense of cosmopolitanism, of the dignity of work, and of the richness and promise of our nationโ€™s immigrant foundations.


[1] Donna Hodgman, “A Vast Vagueness,”p. 1. People Live At Hull-House, unpublished ms., 1943, JAMC.

[2] “A Vast Flowing Vagueness,” p. 30.

[3] “Minutes,” October 27, 1938, Board of Trustees, HHA, HHA Records, JAMC, Special Collections, University Library, University of Illinois at Chicago.

[4] “Minutes,” February 24, 1938, Folder 5, HHA Records, JAMC, Special Collections, University Library, University of Illinois at Chicago.

[5] Ibid.

[6] “Minutes,” January 21, 1928, Folder 5, HHA Records, JAMC, Special Collections, University Library, University of Illinois at Chicago.

[7] “Minutes,” January 27, 1939, March 24, 1939, September 22, 1939, January 26, 1940, December 17, 1941, January 28, 1944; Russell Ballard to Alma Petersen, October 21, 1952, Alma Petersen Correspondence Folder 309, HHA Records, JAMC.

[8] get citation.

[9] “Minutes,” December 1, 1942, HHA Records, JAMC.

[10] Hennie Reynders, [Hull-House Theatre Development: Management, Space and Buildings] from his essay “The Hull-House Theatre as Prosthetic Extension of Settlement Ideology, 1898-1933,” unpublished essay, 2003.

[11] Edith de Nancrede, “Dramatic Work at Hull-House,” Neighborhood (January 1928).

[12] Helen Tieken Geraghty, “Plans for the Work: The Development and Organization of a People’s Theatre at Hull-House,” typescript, 1939, Geraghty Collection, JAMC, Special Collections, University Library, University of Illinois at Chicago.

[13] “Press Release,”1939, HHA Records, Folder 355.

[14] Hodgman, “Paint It White,” p. 15.

[15] “Press Release,” 1939.

[16] Ibid.

[17] Wm. P. Schenk, “Chicago Poems by Carl Sandburg,” Halsted Street file, Folder 355, HHA Records, JAMC.

[18] Halsted Street file, Folder 355, HHA Records, JAMC.

[19] Patrick Schmitt, “The Chicago Federal Theatre Project: 1935-1939,” M.A. thesis, Communication and Theatre, the Graduate College of the University of Illinois at Chicago Circle, 1978.

[20] Milton Mayer, “Charlotte Carrโ€”Settlement Lady,” Atlantic Monthly (December 1938): 741-748.

[21] Bryan and Davis, 100 Years At Hull-House, p. 229.

[22] Dewey R. Jones, “Integration at Hull-House,” in Bryan and Davis, 100 Years At Hull-House, pp. 230-231. This piece was excerpted from Jones’ report in the March 15, 1939, Minutes of the executive committee, Division on Education and Recreation, TMs, 7-9. Welfare Council of Metropolitan Chicago Papers, Box 145, Folder 1: Minorities. Manuscript  Collection, Chicago Historical Society.

[23] Jones, “Integration at Hull-House,” p. 231.

[24] “Confusion and Recovery: 1935-1962” in Bryan and Davis, 100 Years At Hull-House, pp. 211-212.

[25] Jean Carter and Jess Ogden, Everyman’s Drama: A Study of the Noncommerical Theatre in the United States. New York: American Association for Adult Education, 1938, pp. 66-67.)

[26] “Paint It White,” p. 15.

[27] “Paint It White,” p. 15.

[28] “Paint It White,” p. 15.

[29]

[30] Ibid.,  p. 17.

[31] Halsted Street typescript, p. 7.

[32] Ibid.

[33] Minutes, April 19, 1939, Board of Trustees, HHA Records, 

[34] “Paint It White, p. 17.

[35] Ibid., p. 18.

[36] Ibid., p. 19.

[37][37] Christopher Hodgman, M.D., “At Hull-House As A Boy, 1936-1942,” unpublished memoir, 2003.

[38]Hodgman, “The People,” p. 18, in “People Live at Hull-House.”

[39] Ibid., p. 19. Ogden joined the Extension Program of the University of Virginia and worked in the field of Adult Education. He was also active in the community theatre movement.

Research in Jane Addams

Iโ€™m dividing my talk into two parts to describe the two resources for studying Jane Addams of which I have a role:

The first is the reference book Women Building Chicago 1790-1990:ย  A Biographical Dictionary, published by Indiana University Press in 2001. I am the co-editor. The handout Iโ€™ve prepared lists the Hull-House women, their allies, and women from the Near West Side of Chicago โ€“ in the vicinity of Hull-House โ€“ whose biographies can be found in WBC.ย  A special feature of the separate biographies is that each one is followed by a substantial source paragraph that describes primary as well as secondary sources that were used in preparing the entry for our book.ย  Our hope has been that such attention to primary sources โ€“many not used before by scholarsโ€”will bring new generations of researchers to this material thereby promoting a new agenda for the history of women in the United States.ย 

Why do these circles of women who intersected with Jane Addams in Chicago have value for re-discovering or rethinking her life and significance? Her meaning in United States history? Her place in womenโ€™s history? Her influence on social reform movements of her time?

The infrastructure of reform women in Progressive Era Chicago has been understood in a general way; Hull-House and Jane Addams have been viewed by historians including Kathryn Kish Sklar, Helen Lefkowitz Horowitz,ย  as a central place for the personal and collective agendas of social feminists. Here women found a way to pursue meaningful engagement after college, to reconcile the family and the social claims of their mid-Victorian backgrounds, and to find support for enterprises they undertook which were creative and innovative.ย  The womenโ€™s political culture which blossomed in the Progressive Era has also been described yet much more can be said about the participation of women in the political agendas of Progressivism. Our ten years of research on the lives of Chicago women demonstrated how immigrant women, African American women, Jewish and Catholic women all had parallel networks and, at different times, these coalitions of women intersected with the American born, white Protestant, middle classย  and affluent women generally associated with the womenโ€™s political culture and with social and reform movements.ย 

Our aim in cross-referencing Jane Addams with other Chicago women is to plant her firmly and deeply in the infrastructure that, in fact, she influenced and was influenced by — to place her in the social environment of her times rather than to view her in isolation from these complex political, social and reform networks.ย 

This brings me to the second resource I want to mention today.ย  That is the Near West Side History Website, presently under construction at the University of Illinois at Chicago, of which I was recently appointed Interim Director.ย  Our new title: The Urban Experience in Chicago: Hull-House, Hull House and Itโ€™s Neighborhoods, 1889-1963, describes the focus of our website: the โ€œsoilโ€ in which Jane Addams and Ellen Gates Starr planted their experimental โ€œseedโ€ โ€“ and began a new process in the United States, the process of โ€œsettlingโ€ ; — Using historical photographs, maps, surveys, census reports, archival documents, printed materials and newspapers, books and magazines, architectural plans, art work, virtual reality 3-D reconstructions, and street tours we will utilizeย  the phenomenal technology of the website to visually and textually build the socio-economic and geographic, physical and cultural spaces of the Near West Side.ย  Narrating the events and participants of Hull-House in this thick description of the neighborhoods in the settlementโ€™s vicinity, we want to fully explore its social history; in this way we plan to โ€œlinkโ€ Jane Addams to the women and men who made up the political, social, and reform infrastructures that were at work locally and nationally.

The strength of our website is in our use of local documents, often one of a kind and difficult for scholars to find without spending large amounts of time in Chicago-area depositories and archives.  We are a website that provides an in-depth, one of a kind collection of an urban neighborhood, one which so it happens, has received from the 1890s on, enormous attention from journalists, reformers, social scientists, public health officials, and from the local leadership of settlements, religious institutions, ethnic organizations, and municipal agencies.  For example, we are able to connect the early development of the playground and recreation training from Hull-House and its first male resident, Edward Burchard, to the construction of parks and recreation centers throughout Chicago and to the development of the courses given by the Civics and Philanthropy School, the precursor of the Recreation Training School in Chicago and the School of Social Service Administration at the University of Chicago.  Photographs of the parks, annual reports, articles in magazines and newspapers allow users of the website the opportunity examine through what might be termed โ€œcase studiesโ€ the way in which urban neighborhoods were actually transformed through the implementation of new concepts of cultural and recreational space first experimented with at Hull-House.

Again, the local papers of other settlements in Chicago speak directly to Jane Addamsโ€™s connection to their endeavors, as do writings by leading residents of settlements throughout the United States.  The local scene on the Near West Side can reveal the dynamics of this absorption and dissemination of new ideas. [show text of Henry Booth Settlement]

We know that Addams was a talented and prolific writer whose articles in magazines such as the Ladies Home Journal popularized her ideas.  The Near West Side site brings to scholars primary materials which will address Addamsโ€™s style of leadership as a social and political activist and as a coalition builder and even as a model of democratic behavior in an ethnically, religiously and racially diverse urban community.

And now, a final point about the nature of archival resources and the opportunities and dangers of websites.  This seems a good place to bring up the issue of historical editing of photographs and other visual images. We have what is called a jpeg library for our website of more than 5,000 scanned-in images. Among these are many images of Jane Addams and her Hull-House colleagues.  Some are similar or the same images that appear in Swarthmoreโ€™s photography galleries on your website, and Iโ€™m sure, there are many websites with images of Jane Addams.  In preparing our jpegs for linkage with our website, we have come across lots of documentation questions: inaccurate or no dates; inaccurate or missing identifications of others in shots with Addams; inaccurate captions written on photos either at the time the image was originally taken or at a later date (and we donโ€™t know for sure when); inaccurate information from archives themselves about the original photos they own. Websites, like any other reference works, ought to comply with the highest standards of historical editing.  Even more so, since the proliferation of mis-information is more rapid and far-reaching when the mistake is on the internet highway.  So, Ellen Skerrett, project coordinator of our site, has prepared a short visual presentation that underscores both the increased opportunity for exchange via the internet, and the need for a collective effort in which we should all engage to share information and reconcile conflicts in our documentation regarding images.

We are showing you a series of portraits of Jane Addams, each one in comparison to others found in different archives, has a problem.ย  In focusing in on what some might consider just a minor detail, the chi-ro cross worn by Jane Addams in portraits taken between [ ] and []. As Ellen points out, in the Swarthmore photo which we think is the same image as one we have, i.e. the 1892 Alice Kellogg Tyler portrait, Jane Addams is definitely wearing a pin; while the outlines of the Chi-Rho cross are clearly visible in our image, itโ€™s hard to make out in the Swarthmore photo.ย  Was it shaded in over time? Deliberately? Accidently? No writer on Addams has mentioned her wearing of this Christian symbol or has tied it with another settlement head resident, Mary E. McDowell, who also wore a Chi-Rho cross.ย  Was it worn to signify a sisterhood of settlement women?ย  After we do not find this pin in photos of Jane Addams.ย  Was there a reason she stopped wearing it? There are differences of opinion among scholars about Jane Addamsโ€™s religious affiliation and beliefs.ย  Can this photobiographical detail add any insight about this aspect of her life?