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Architectural drawings for buildings designed by Hamlin including proposed alterations for the Charles Dudley Warner House, circa 1885; pumping station Clear Stream (or Clear Stream Station), Long Island, 1886; American Classical School, Athens, Greece, 1886-1888; proposed cottage for Mrs. R. Hoe at Sea Cliff, Long Island, 1887; an addition to Clinton Hall at Blair Presbyterian Academy, Blairstown, New Jersey, circa 1896; Soldier's Monument, Whitinsville, Massachusetts, circa 1904 (Hamlin was the architect and Herman A. MacNeil was the sculptor); and miscellaneous and unidentified structures. Also included are drawings done by Hamlin while a student at the Massachusetts Institute of Technology, 1876-1877; sketches done by Hamlin on travels both in the United States and abroad, 1867-1923; photographs of various unidentified buildings and architectural drawings; manuscripts of "ARCHITECTURAL SHADES AND SHADOWS" with related drawings"History of American Art" (unfinished, in French), circa 1923, and "MODERN ARCHITECTURE AND THE CRITICS" circa 1923. Personal materials included undated photographs of A.D.F. Hamlin; a photograph of an 1835 portrait of Cyrus Hamlin; a volume containing condolences, 1926, on the occasion of A.D.F. Hamlin's death; and a scrapbook"Memoirs of Amherst, Class of '75" containing programs, invitations, clippings, notes, essays, exam questions, steamship passenger lists, and other materials.

Field notebooks detailing the customs and ceremonies of the Native American Hopi tribe, collected by Elsie Worthington Clews Parsons, PhD (1874-1941). Thirty of these volumes were the notebooks of Alexander M. Stephen (d. 1894), a U.S. Army officer who, in about 1882, started observing Hopi life. Although chiefly concerned with the Hopis, there are some notes on Hopi-Navajo relations and a few references to the Native American Tewa and Hokya tribes. Stephen's penciled notes and drawings were edited and published by Dr. Parsons as the Hopi journal of Alexander M. Stephen (New York: Columbia University Press, 1936). Also included are three unpublished notebooks of observations made by a young American physician with the Bureau of Indian Affairs (BIA), Jeremiah Sullivan (1850-1916), who lived among the Hopis (1881-1888) in the village of Sichomovi. A letter from anthropologist Alfred L. Kroeber, PhD (1876-1960) to Dr. Parsons explains the provenance of one of Sullivan's notebooks. These last three notebooks [Vols. 31-33] have also been attributed to Alexander M. Stephen by Alex Patterson (February 1994). [See, Alex Patterson's full note at subseries I.2. Jeremiah Sullivan (Vols. 31-33).]

Working files of the architectural historians Rudolf and Margot Wittkower, dealing with Baroque and Renaissance painting, sculpture, and architecture. Included are manuscripts, notes, drawings, annotated proofs of articles and books, and some correspondence related to his writings and lectures. The majority of the files document his teaching, research, and writing at the University of London, 1934-1955, and at Columbia University. There are also some manuscript notes from his early years in Italy and Germany. Series I has been divided into six parts: Artists, Subjects, Book Manuscripts, Proofs, Notes, and Printed Materials. Some of the major files are Bernini, Bramante, Carracci, Michelangelo, and Raphael (Artists); Baroque Painting, Patronage, Rome, St. Peter's, Slade Lectures on the history of art (Subjects); ART AND ARCHITECTURE IN ITALY, BORN UNDER SATURN, and MATTHEWS LECTURES: GOTHIC VS. CLASSIC (Book Manuscripts). In addition there are proofs of essays and reviews with manuscript corrections and emmendations, copies of several of his own published works with his manuscript corrections, and typescript insertions for new editions. The Notes consist of eight card file boxes with notes chiefly relating to the Baroque period and Bernini. Materials created by or related to Rudolf Wittkower's wife, the architect and interior designer Margot Holzmann Wittkower, can be found primarily in Series II, IV, V, and VI. Material created or maintained solely by Margot Wittkower is located in Series VI; however, material she shared with Rudolf Wittkower is located in Series II, IV, and V.