{"id":88,"date":"2016-12-04T20:00:51","date_gmt":"2016-12-04T20:00:51","guid":{"rendered":"https:\/\/commons.mtholyoke.edu\/foundingsisters\/?page_id=88"},"modified":"2016-12-17T14:24:17","modified_gmt":"2016-12-17T14:24:17","slug":"caroline-hill","status":"publish","type":"page","link":"https:\/\/commons.mtholyoke.edu\/foundingsisters\/caroline-hill\/","title":{"rendered":"Caroline Hill"},"content":{"rendered":"

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Artist, savior, collector, survivor: Caroline Rogers Hill may have been many things in her long life, but boring was not one of them. As a young woman from a middle class family,\u00a0Hill could not have imagined her future as an artist and collector in Paris. Her\u00a0life journey\u00a0evolved through\u00a0a combination of \u00a0good\u00a0fortune and adventurous decisions: from her marriage to\u00a0a wealthy banker, to her escape from Europe amid\u00a0the destruction of World War II, to the acquisition of a Duccio masterpiece,\u00a0Hill took advantage of every opportunity life offered her.\u00a0\u00a0Good fortune also befell Mount Holyoke College when Hill donated her varied and\u00a0valuable art collection,\u00a0allowing the\u00a0Art Department to flourish and fostering the development of\u00a0the museum.<\/p>\n

Backstory<\/h1>\n

Caroline Rogers was born in Boston on August 5, 1878,\u00a0five weeks\u00a0before the family of\u00a0five children moved to New Salem.1<\/a><\/sup> Ten years later, the Rogers family moved again to Barre, where Caroline\u2019s parents, Mr. and Mrs. August Rogers, owned and operated the Barre Gazette<\/em>.2<\/a><\/sup> For her undergraduate degree,\u00a0Hill went to Wellesley College. During her time at the small liberal arts college, she did not perform well academically, but\u00a0made her mark as\u00a0the coxswain of the crew team.3<\/a><\/sup> After graduating in 1900, Caroline worked at the Wellesley Inn, where she met her future husband, William H. Hill.4<\/a><\/sup> It was through William that Caroline\u2019s Cinderella story would begin.<\/p>\n

\"Candelabra<\/a>
Hill kept this candelabra in her bedroom. Italian, “Candelabra,” 18th-19th century, wood, MHCAM, 1965.8a.a.P.L.<\/figcaption><\/figure>\n

William Hill was a Boston banker in his 60s and Caroline was 28, the same age as his youngest daughter, when the couple married on April 6, 1906.5<\/a><\/sup> William had already traveled the world before settling in Boston and told\u00a0Caroline\u00a0that if she married him, she could do anything she wanted after his death, but while he was alive, she had to care for him at home.6<\/a><\/sup> William had amassed a fortune through banking, his connections with the Eastern Steamship Lines, and local mills.7<\/a><\/sup> With her husband\u2019s money,\u00a0before his death, Caroline was able to pursue and receive a master\u2019s degree in economics and the philosophy of education from Radcliffe University in 1912.8<\/a><\/sup> Then, on October 14 of the next year, William passed away, leaving his estate to his widow.<\/p>\n

The War Years<\/h1>\n

Hill took her new freedom as a license to travel the world and do good deeds. Her first stop on this trip was France, where she participated in voluntary relief work during World War I. In 1915, Caroline worked for the \u201cEnfants de la Fronti\u00e8re,\u201d a charity that collected and placed children from devastated districts and broken homes into new homes where they would be safe.9<\/a><\/sup> Many years later in a 1950 article in the Barre Gazette<\/i> about the honors she received for her relief work,\u00a0Hill recalled in an \u201cinteresting experience\u201d from that time: while she was helping to remove Belgian children from the front, \u201cshe was asked to be received by the Queen of the Belgians, who was in hiding.\u201d10<\/a><\/sup> During the war,\u00a0Hill was also in a church that was hit during Big Bertha\u2019s attack on Paris, and narrowly escaped.11<\/a><\/sup> The widow traveled back and forth from Europe to America in order to raise money for her charitable causes, including the Children\u2019s Kit Movement, which clothed over 10,000 children. Hill\u2019s leadership was recognized by the United States Government, which recruited her to personally investigate all French private charities that had requested aid from the Red Cross.12<\/a><\/sup><\/p>\n

\"The
The street on which Hill lived in Paris. (google.com)<\/figcaption><\/figure>\n

After World War I ended, Caroline stayed in France, continuing her relief work by making five-reel films and taking photographs of children affected by war to use in fundraising campaigns, while also studying art. From 1923-30 she practiced sculpture, and then from 1932 until her death she painted under the\u00a0tutelage of\u00a0Antoine Bourdelle and Andre Lhote.13<\/a><\/sup>\u00a0\u00a0Hill was not connected with any art institution, but she was able to display her work in galleries in New York City and Paris.14<\/a><\/sup> One of her paintings, seen below,\u00a0is now\u00a0at the Phillips Collection. France was an empowering place for liberal, independent women in the 1920s;\u00a0Hill ran in the same circle as Gertrude Stein and many male and female authors, artists, and poets.15<\/a><\/sup><\/p>\n

\"Fishing<\/a>
Caroline Rogers Hill (American, 1878-1965), “Fishing Lodge, Austria,” Gouache on paper mounted on bristol board, 1937, acquired 1943, Phillips Collection.<\/figcaption><\/figure>\n

Hill\u00a0intended to continue her relief work in France during World War II. From March 1940-July 1941,\u00a0she worked in hospital clinics for the Secours Quaker and represented the American Committee of Funds for France. Her work included obtaining milk for babies, and feeding mothers and children.16<\/a><\/sup> In 1941, Hill\u2019s brother came to Europe to make her leave; he put her on a boat back to the USA right before the war intensified.17<\/a><\/sup> Although no longer in Europe, Caroline was active in the New York Office of American Aid to France, where she planned food and medication shipments and studied under French doctors so that she could pass the entrance examination for the Assistante Sociale de la Lib\u00e9ration. The war ended in 1945, and no longer a young woman,\u00a0Hill returned to Paris, where she continued to work in the Office of American Aid to France. There, she supervised C.A.R.E. packages and organized food distribution to schools.\u00a0Hill was honored for her work in Europe during both wars with the Medal of Elizabeth and the Reconnaissance Francoise after World War I, and the Legion of Honor, a Blue Ribbon from the Ministry of Education and Population, and the Palms Academique\u00a0after World War II.18<\/a><\/sup><\/p>\n

\""Christ
The first piece of art donated by Hill to MHCAM, Guariento (Italian, Paduan, active 1338, died 1367 or 1370), “Christ Redeemer,” gesso, tempera and gold leaf on panel, 1350-1360, gift of Caroline R. Hill, 1957.37.P.PI.<\/figcaption><\/figure>\n

Building a Collection<\/h1>\n

Between World War I and World War II,\u00a0Hill began to collect artwork under the advice of famed art scholars Wilhelm von Bode, who worked for museums in Berlin and specialized in medieval art, and Raimond Van Marle, who wrote The Development of the Italian Schools of Painting<\/em>.19<\/a><\/sup> These two men are responsible for the Italian and medieval flavor of Hill\u2019s collection, but it is not known how or where the group met. Many of the pieces she collected were from antique shops in France and Italy, or from museums. For example, Duccio\u2019s \u201cAngel\u201d from the Maest\u00e0 altarpiece, one of the most valuable pieces in the collection, was acquired when the Kaiser Friedrich Museum in Berlin deaccessioned it in the 1920s.20<\/a><\/sup>\u00a0Hill also purchased a number of contemporary drawings, along with medieval architectural fragments, medieval paintings, ancient Roman artifacts, and 15th \u2013 17th century Dutch paintings. Some of the outliers in the collection include a Chinese vase and a 18th-19th century candelabra, which, according to a family member, she had in her bedroom at her house in Manchester-by-the-Sea.21<\/a><\/sup><\/p>\n

\""Angel,"<\/a>
Duccio (Italian, ca. 1255-before 1319), “Angel,” tempera and gold leaf on panel, 13th century, bequest of Caroline R. Hill, 1965.45.P.PI.<\/figcaption><\/figure>\n

The Hill collection was first exhibited at Wellesley College in the 1920s; however, the number of pieces exhibited there is not known.\u00a0Caroline donated three pieces to the Wellesley Art Museum at this time: an Italian Romanesque capital with confronting lions from Parma, a Sienese medieval painting, \u201cSaint John the Baptist\u201d (thought to be from Duccio\u2019s studio), and a Roman bust of a child. In 1922, there was discussion among Wellesley\u00a0museum staff of\u00a0possible further\u00a0gifts, but for some reason her\u00a0collection moved to the Currier Gallery of Art in Manchester, New Hampshire in the 1920s.22<\/a><\/sup> Then, in the 1930s,\u00a0it was again moved to the Springfield Museum of Art, where it was displayed and then stored until a new gallery was found.23<\/a><\/sup><\/p>\n

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Hill\u00a0continued painting and traveling after World War II, but found herself in debt because she had lost parts of her French estate in the war. The director of the Springfield Museum of Fine Arts, Frederick B. Robinson, arranged to have her art collection advertised for sale.24<\/a><\/sup> It is not clear how the chair of Mount Holyoke College\u2019s Art Department, Marian Hayes, heard about the opportunity, but in 1951, Robinson wrote to Hayes to tell her that Caroline Hill had responded \u201cyes\u201d to her letter, and that Mount Holyoke College would receive the Hill collection on indefinite loan.25<\/a><\/sup> Why she did not later give the art\u00a0to Wellesley as indicated in earlier correspondence with her alma mater is unclear, but, based upon reading each college\u2019s correspondences with Hill, the Mount Holyoke Art Department staff seemed more gracious and friendly with\u00a0her than that of Wellesley, which possibly accounts for the rejection of her alma mater. Furthermore, in her Wellesley College Alumnae Association registration form in 1941,\u00a0Hill wrote that she had \u201choped [she] would aid in forming new art collection \u2013 not successful.\u201d26<\/a><\/sup> This suggests that there was a falling out of sorts between\u00a0Hill and Wellesley College years before she loaned\u00a0everything\u00a0to Mount Holyoke. Each year from 1951 until 1957,\u00a0she donated one or two pieces of her collection to the college.<\/p>\n

\"An
An example of an “Italian Primitive” in Hill’s Collection. Italian, Venetian, “Virgin and Child in a Rose Garden,” early 15th century, tempera and gold on panel, MCHAM, 1963.39.P.PI.<\/figcaption><\/figure>\n

Despite her dire financial situation, in 1957, Hill rejected an opportunity to sell pieces of her art. On October 25, her art dealer wrote to her regarding interest in her “Italian Primitives”\u00a0(Italian artworks from the 14th, 15th, and 16th centuries), to which she replied, \u201cDear Mr. Castano, In reply to your letter of Oct. 25, I have withdrawn the collection of Italian Primitives from the market, and extended the loan to Mt. Holyoke. I am sorry to disappoint your clients and you. The college is making such excellent use of the collection as a whole that it would be a pity to break it up, or withdraw it.\u201d27<\/a><\/sup><\/p>\n

\"Letter<\/a>
Letter from Caroline Hill to Mr. Castano, October 27, 1957. (MHCAM, donor file, Caroline R. Hill.)<\/figcaption><\/figure>\n

In 1960,\u00a0Hill donated three pieces to Wellesley, two contemporary French paintings and a bust, but this is trivial compared with the 80 paintings, sculptures, and material culture objects acquired by Mount Holyoke.28<\/a><\/sup>\u00a0Such a\u00a0massive donation to a school other than her alma mater begs the question, why?<\/p>\n

Caroline and Mount Holyoke College<\/h1>\n

Hill\u00a0actively communicated with both Marian Hayes and Dorothy Cogswell, who succeeded Hayes as Chairman of the Art Department when she retired. The relationship between\u00a0Hayes and\u00a0Hill in the 1950s could be described as formal yet friendly. The women corresponded regularly after\u00a0the Hill\u00a0collection came to the college; the earliest letters between the two mainly discuss insurance policies and transportation, and preservation efforts the museum was making. In particular, some of the medieval paintings Caroline had donated were buckling in the middle, so Mr. Jakstas, the restoration specialist, placed humidifiers in front of the works in the Dwight Art Museum, where they were first displayed.29<\/a><\/sup> Care of Hill’s art\u00a0was discussed extensively, and\u00a0she requested many photos to be taken of her objects on display and mailed to her, with which Hayes\u00a0complied.<\/p>\n

\"Letter<\/a>
Letter from Marian Hayes to Caroline Hill, April 15, 1953. (MHCAM, donor file, Caroline R. Hill.)<\/figcaption><\/figure>\n
\"Standing
Spanish, “Mary Magdalene”, 15th century, tempera and gold on panel, MHCAM, 1965.43.P.PI.<\/figcaption><\/figure>\n

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It is not clear how\u00a0the Hill\u00a0Collection made its way from Europe to the United States, but in addition to the Springfield Museum of Fine Arts, part of the collection ended up at Hill\u2019s brother\u2019s house in Manchester, New Hampshire. The Pompeiian wall paintings were among the objects there, and were brought to Mount Holyoke in an art department staff member\u2019s van in the 1950s.30<\/a><\/sup> Because\u00a0Hill had acquired so much of her collection from antique shops, there was very little provenance information. In 1952,\u00a0Hayes inquired about any information Caroline might have, only to be disappointed by the lack thereof. It is believed that any information that may have existed was burned by a family member, possibly Donald Hill, who had power of attorney over\u00a0his aunt’s\u00a0estate.31<\/a><\/sup> This lack of information led to false assumptions about work in the collection, which were later corrected by Professor\u00a0and Mrs. D\u00a0Talbot Rice (Professor Talbot Rice was a\u00a0Byzantinist\u00a0and professor of art at the University of Edinburgh), and Mount Holyoke faculty. For example, the Pompeian fresco was believed to portray a \u201cshepherd boy,\u201d which is now known to be Bacchus.32<\/a><\/sup><\/p>\n

\"Fragment
Roman, Pompeiian, “Fragment of a wall painting with Bacchus,” 1st century, fresco, MHCAM, 1958.2.C.PI.<\/figcaption><\/figure>\n

In 1952,\u00a0Hayes wrote to\u00a0Hill about how her class on Italian art utilized the collection. The professor described how her students were able to study from real artifacts for the first time, and how this excited them.\u00a0Hayes believed that Caroline would have loved to hear the students\u2019 reports, as can be seen in the below letter. Even Mount Holyoke\u2019s president, Richard Glenn Gettell, wrote to Hill to thank her for her wonderful gift and wrote again after every subsequent donation to the college.<\/p>\n

\"One
One of the objects donated by Hill in 1958, when the neighboring letter was written. Roman, Pompeiian, “Fragment of a wall painting with shrine and landscape,” 1st century, fresco, MHCAM, 1958.4.C.PI.<\/figcaption><\/figure>\n
\"Letter<\/a>
Letter from President Richard Glenn Gettell to Caroline Hill, January 10, 1958.\u00a0(MHCAM, donor file, Caroline R. Hill.)<\/figcaption><\/figure>\n

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Before the arrival of the Hill Collection, the majority of works in Dwight Art Museum were plaster casts or archaeological artifacts. In 1963,\u00a0Cogswell rejected Hill\u2019s proposed gift of plaster casts to the museum because they were in the process of removing them from the collection.33<\/a><\/sup> Plaster casts did not allow students to interact with fine art in the way the Hill Collection did; for example, one student, Penelope Hayes, researched the manner in which Duccio painted halos.34<\/a><\/sup> Prior to\u00a0Hill’s donation, students would have only used photographs or plaster casts to research, hindering their ability to perform close-looking analysis. Marian Hayes describes the new teaching and learning style as \u201ca wonderful stimulus\u2026 Even in the short time we have had the paintings, the girls have developed a very genuine interest them and I think they have opened up a whole new field of study for these students.\u201d35<\/a><\/sup> Through\u00a0Hayes and Cogswell\u2019s art history classes, the emerging discipline of art history was truly able to flourish at Mount Holyoke; Caroline Hill\u2019s gift of fine art ushered the college into a new era of teaching art.<\/p>\n

\"Letter<\/a>
Letter from Marian Hayes to Caroline Hill, November 14, 1952. (MHCAM, donor file, Caroline R. Hill.)<\/figcaption><\/figure>\n

By 1957,\u00a0Hill had decided to give her entire collection to Mount Holyoke. Between 1957 and 1961,\u00a0Hayes and\u00a0Hill developed a closer relationship, corresponding about family, art, and their travels. In 1960, Caroline traveled to Mexico and stopped in South Hadley to meet with students and faculty to discuss the art before returning to Europe.36<\/a><\/sup> After\u00a0Cogswell took Hayes’ place as chair in 1961, she became\u00a0friends with Hill as well.\u00a0Cogswell specialized in medieval art, and her classes made much use of the Hill Collection.37<\/a><\/sup> Cogswell continued the casual correspondence with Caroline and her nephew Donald, who helped with administrative paperwork, continuously inviting the pair to visit\u00a0Mount Holyoke\u00a0and linking\u00a0students who were studying abroad in France with Hill. By the 1960s, the depth of the Wellesley alumna\u2019s connection with Mount Holyoke made it seem almost as if she was an honorary Mount Holyoke alumna.38<\/a><\/sup><\/p>\n

\"Landscape
Flemish, Brueghel, style of, “Landscape with Travelers,” 17th century?, oil on panel, MHCAM, 1964.6.L.PI.<\/figcaption><\/figure>\n

In 1963, the Mount Holyoke College Art Museum invited Hill to join their first Advisory Committee. It is unclear if she did become a member,\u00a0but she did not receive the letter in time to attend the initiation event. She wrote back that she would accept the\u00a0position if \u201cno particular effort is required.\u201d39<\/a><\/sup>. In her final years, Caroline struggled with arthritis, so, unable to paint, she travelled the world. She visited Guatemala and Arizona in 1964 before passing away in Cuernavaca, Mexico on March 1, 1965 at the age of 86.\u00a0 In her will,\u00a0the\u00a0entire\u00a0Hill Collection was left to Mount Holyoke. In 1971, the newly built Art Building became the home of the Mount Holyoke College Art Museum, moving Caroline\u2019s\u00a0art to a new home, the Hill Gallery.40<\/a><\/sup> The naming of the gallery after Caroline Rogers Hill was a tribute to an incredible woman\u2019s dedication to the arts through times of hardship and her transformative gift to the college.<\/p>\n

\"Photograph
Caroline Rogers Hill, 1950.\u00a0(Kowza, Irene. \u201cFormer Barre Woman Active in Relief Work in Foreign Lands.\u201d The Barre Gazette. August 3, 1950, from Caroline Rogers Hill files, Wellesley College Archives, Wellesley, MA.)<\/figcaption><\/figure>\n

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Timeline<\/h1>\n

1878<\/h5>\n

Born August 5,\u00a0 in Boston.<\/p>\n

1900<\/h5>\n

Graduated from Wellesley College.<\/p>\n

1906<\/h5>\n

Married William Hill on April 6.<\/p>\n

1912<\/h5>\n

Received Master’s degree from Radcliffe.<\/p>\n

1913<\/h5>\n

William Hill died.<\/p>\n

1915<\/h5>\n

Began relief work in France.<\/p>\n

1920s<\/h5>\n

Began actively\u00a0collecting, bought Duccio’s\u00a0Angel. <\/em><\/p>\n

Collection exhibited at Wellesley College.<\/p>\n

Sculpted.<\/p>\n

Collection moved to Currier Gallery of Art.<\/p>\n

1930<\/h5>\n

Collection moved to Springfield Museum of Fine Arts.<\/p>\n

1932<\/h5>\n

Began studying painting.<\/p>\n

1940-1<\/h5>\n

Participated in relief war during World War II.<\/p>\n

1941<\/h5>\n

Returned to the United States.<\/p>\n

1945<\/h5>\n

Returned to France.<\/p>\n

1951<\/h5>\n

Mount Holyoke College acquired Hill Collection on indefinite loan.<\/p>\n

1957<\/h5>\n

Hill decided to give entire collection to Mount Holyoke College.<\/p>\n

1960<\/h5>\n

Visited Mount Holyoke College and Mexico.<\/p>\n

1963<\/h5>\n

Hill is offered a position on the Mount Holyoke College Art Museum Advisory Board.<\/p>\n

1964<\/h5>\n

Travelled to Guatemala and Arizona.<\/p>\n

1965<\/h5>\n

Died Cuernavaca, Mexico on March 1, 1965.<\/p>\n

Works Cited<\/h1>\n

Hall, Nicholas H.J., \u201cJacques Goudstikker \u2013 Dealer and Connoisseur,\u201d November 14, 2007, http:\/\/www.christies.com\/special_sites\/goudstikker_part3\/articles.asp?a=1, viewed November 26, 2016.<\/p>\n

Kowza, Irene. \u201cFormer Barre Woman Active in Relief Work in Foreign Lands.\u201d The Barre Gazette. August 3, 1950, from Caroline Rogers Hill files, Wellesley College Archives, Wellesley, MA.<\/p>\n

Mount Holyoke College Art Museum, Donor Files, \u201cCaroline Rogers Hill,\u201d Folders 1, 2, South Hadley, MA.<\/p>\n

Schmidt-Scheuber, Victoria, \u201cA History of the Mount Holyoke College Art Museum,\u201d November 16, 2011, https:\/\/www.mtholyoke.edu\/org\/artgoddesses\/more%20articles\/MHCAM%20135%20Retrospective.html, viewed December 1, 2016.<\/p>\n

Wellesley College Alumnae Association 1942 Biographical Record, 23 October, 1941, Caroline Rogers Hill files, Wellesley College Archives, Wellesley, MA.<\/p>\n

Wellesley College Davis Art Museum, object file: \u201cItalian Sienese \u2018Saint John the Baptist,\u2019\u201d Wellesley, MA.<\/p>\n

Wellesley College Undergraduate Transcript, October 24, 1911, RG XXI, Series 1, Box 57, Schlesinger Archives, Harvard University, Cambridge, MA.<\/p>\n

Written by Kristina Bush ’17.<\/em><\/p>\n

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    \n
  1. Wellesley College Alumnae Association 1942 Biographical Record, 23 October, 1941, Caroline R. Hill Files, Wellesley College Archives, MA. ↵<\/a><\/span><\/li>\n
  2. Kowza, Irene. \u201cFormer Barre Woman Active in Relief Work in Foreign Lands.\u201d The Barre Gazette. August 3, 1950. ↵<\/a><\/span><\/li>\n
  3. Mount Holyoke College Art Museum, Donor Files, \u201cCaroline Rogers Hill,\u201d Folder 1. Wellesley College Undergraduate Transcript, October 24, 1911, RG XXI, Series 1, Box 57, Schlesinger Archives, Harvard University, Cambridge, MA. ↵<\/a><\/span><\/li>\n
  4. MHCAM, \u201cCaroline Rogers Hill,\u201d Folder 1. ↵<\/a><\/span><\/li>\n
  5. Wellesley College Alumnae Association 1942 Biographical Record. ↵<\/a><\/span><\/li>\n
  6. MHCAM, \u201cCaroline Rogers Hill,\u201d Folder 1. ↵<\/a><\/span><\/li>\n
  7. Ibid ↵<\/a><\/span><\/li>\n
  8. Wellesley College Alumnae Association 1942 Biographical Record. ↵<\/a><\/span><\/li>\n
  9. Report on Caroline R. Hill\u2019s Charity Work, Caroline R. Hill Files, Wellesley College Archives, MA. ↵<\/a><\/span><\/li>\n
  10. Kowza, \u201cFormer Barre Woman Active in Relief Work in Foreign Lands.\u201d The Barre Gazette. August 3, 1950. ↵<\/a><\/span><\/li>\n
  11. Ibid. ↵<\/a><\/span><\/li>\n
  12. Letter to the Editor of Class Notes, Caroline R. Hill Files, Wellesley College Archives, MA. ↵<\/a><\/span><\/li>\n
  13. Wellesley College Alumnae Association 1942 Biographical Record. ↵<\/a><\/span><\/li>\n
  14. MHCAM. \u201cCaroline Rogers Hill.\u201d Folder 1. ↵<\/a><\/span><\/li>\n
  15. Ibid. ↵<\/a><\/span><\/li>\n
  16. Letter to the Editor of Class Notes. ↵<\/a><\/span><\/li>\n
  17. MHCAM, \u201cCaroline Rogers Hill,\u201d Folder 1. ↵<\/a><\/span><\/li>\n
  18. Ibid. ↵<\/a><\/span><\/li>\n
  19. Hall, Nicholas H.J., \u201cJacques Goudstikker \u2013 Dealer and Connoisseur,\u201d November 14, 2007, http:\/\/www.christies.com\/special_sites\/goudstikker_part3\/articles.asp?a=1, viewed November 26, 2016. ↵<\/a><\/span><\/li>\n
  20. MHCAM, \u201cCaroline Rogers Hill,\u201d Folder 1. ↵<\/a><\/span><\/li>\n
  21. Ibid. ↵<\/a><\/span><\/li>\n
  22. Wellesley College Davis Art Museum, \u201cItalian Sienese \u2018Saint John the Baptist.\u2019\u201d ↵<\/a><\/span><\/li>\n
  23. MHCAM, \u201cCaroline Rogers Hill,\u201d Folder 1. ↵<\/a><\/span><\/li>\n
  24. Ibid, Folder 2. ↵<\/a><\/span><\/li>\n
  25. Ibid, Folder 1. ↵<\/a><\/span><\/li>\n
  26. Wellesley College Alumnae Association 1942 Biographical Record. ↵<\/a><\/span><\/li>\n
  27. MHCAM, \u201cCaroline Rogers Hill,\u201d Folder 2. ↵<\/a><\/span><\/li>\n
  28. Ibid, Folder 1. ↵<\/a><\/span><\/li>\n
  29. Ibid. ↵<\/a><\/span><\/li>\n
  30. Ibid, Folder 2. ↵<\/a><\/span><\/li>\n
  31. Ibid. ↵<\/a><\/span><\/li>\n
  32. Ibid. ↵<\/a><\/span><\/li>\n
  33. Ibid. ↵<\/a><\/span><\/li>\n
  34. Ibid. ↵<\/a><\/span><\/li>\n
  35. Ibid. ↵<\/a><\/span><\/li>\n
  36. Ibid. ↵<\/a><\/span><\/li>\n
  37. Ibid. ↵<\/a><\/span><\/li>\n
  38. Ibid. ↵<\/a><\/span><\/li>\n
  39. Ibid. ↵<\/a><\/span><\/li>\n
  40. Schmidt-Scheuber, Victoria, \u201cA History of the Mount Holyoke College Art Museum,\u201d November 16, 2011, https:\/\/www.mtholyoke.edu\/org\/artgoddesses\/more%20articles\/MHCAM%20135%20Retrospective.html, viewed December 1, 2016. ↵<\/a><\/span><\/li>\n<\/ol>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

    [slideshow_deploy id=’266′] Artist, savior, collector, survivor: Caroline Rogers Hill may have been many things in her long life, but boring was not one of them. As a young woman from a middle class family,\u00a0Hill could not have imagined her future as an artist and collector in Paris. Her\u00a0life journey\u00a0evolved through\u00a0a combination of \u00a0good\u00a0fortune and adventurous […]<\/p>\n","protected":false},"author":264,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_monsterinsights_skip_tracking":false,"footnotes":""},"class_list":["post-88","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/commons.mtholyoke.edu\/foundingsisters\/wp-json\/wp\/v2\/pages\/88","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/commons.mtholyoke.edu\/foundingsisters\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/commons.mtholyoke.edu\/foundingsisters\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/commons.mtholyoke.edu\/foundingsisters\/wp-json\/wp\/v2\/users\/264"}],"replies":[{"embeddable":true,"href":"https:\/\/commons.mtholyoke.edu\/foundingsisters\/wp-json\/wp\/v2\/comments?post=88"}],"version-history":[{"count":32,"href":"https:\/\/commons.mtholyoke.edu\/foundingsisters\/wp-json\/wp\/v2\/pages\/88\/revisions"}],"predecessor-version":[{"id":1013,"href":"https:\/\/commons.mtholyoke.edu\/foundingsisters\/wp-json\/wp\/v2\/pages\/88\/revisions\/1013"}],"wp:attachment":[{"href":"https:\/\/commons.mtholyoke.edu\/foundingsisters\/wp-json\/wp\/v2\/media?parent=88"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}