Frederic Field Bullard

Frederic Field Bullard (1864-1904) was a composer from Boston.  He is best known for “A Stein Song”, co-written with fellow Visionist Richard Hovey, which was a favorite on college campuses.  (You can hear a recording of “A Stein Song” by contemporary musician Nicole Edgecomb at the end of the “Visionists of Boston” documentary, or a vintage recording from the Library of Congresss linked below).

According to his friend and fellow MIT grad, poet Gelett Burgess, Bullard suffered a spinal injury as an infant which caused occasional pain throughout his life. He was an intellectually curious child who attended the Boston Latin School and then MIT.  While studying chemistry as a “special student” he was active in MIT Glee Club performances, playing piano, flute, and double-bass as well as singing.  After graduating in 1887, he decided to pursue his musical passion and spent several years in Munich, Germany studying under composer Josef Rheinberger.

Bullard returned to the US in 1892, initially to receive a prestigious music award in New York, then returned to Boston, were he kept himself very busy composing, arranging, and teaching music.  He was successful in having several of his pieces published, including “A Stein Song” in 1898, though according to Burgess he never made a living from publishing.  In 1896 he married his MIT classmate Maud Sanderson and in 1898 they had a son, Theodore Vail Bullard.

Like his fellow Visionists, Bullard was inspired by the past and by British Romanticism.  His published songs included adaptations of poems by Percy Bysshe Shelly such as “Hymn to Pan”.  According to Burgess, Bullard was slightly embarrassed to be best know for the “catchy” Stein Song and hoped to be remembered for his more sophisticated compositions.   Fellow  composer and MIT grad Leo R. Lewis wrote that Bullard was a true musical genius: “I am confident that the concert-giver of the year 2000, making up a programme of a score of the best songs by American composers who were at work in 1900, cannot justly omit a song by Frederic Field Bullard.  Nay, more!”

Burgess wrote that Bullard’s associates “were such men as Richard Hovey, Bliss Carman, Ralph Adams Cram, and that little coterie of artists who, first as ‘The Visionists’ and afterward as the ‘Pewter Mugs’, contributed what was most joyous to life in Boston in the 1890’s.  With these Bullard, in virtue of his character as well as his talent, was a boon comrade.  He was of that ‘Vagabondia’ which gave to the town a new prestige, and he contributed not a little to that frenzied burst of youth which was embodied in ‘Chap Book’ times.”  Ralph Adams Cram, who collaborated with Bullard on “Royalist Songs” inspired by Cram’s love of English monarchy, believed Bullard would have been recognized as a genius had he lived longer.

Bullard remained very dedicated to the MIT community, and MIT president Henry S. Pritchett asked him to lead students in compiling the first MIT song book, published in 1903 as Tech Songs: The MIT Kommers Book.  In 1904, at the age of 39, Bullard died of pneumonia.  Burgess believed that he “literally worked himself to death” preparing music for that year’s Tech Reunion event.  Bullard and his family had recently moved from Boston to Scituate, Massachusetts (also home to Thomas Meteyard).

The “Stein Song” remained a staple of MIT Glee Club performances, including “pops” concerts at which the club performed with the Boston Symphony Orchestra.  It came to be considered MIT’s Alma Mater song (although the lyrics did not reference MIT) and freshmen were instructed to stand and remove their hats whenever they heard it.  It was also a favorite at Dartmouth College (Richard Hovey’s alma mater) and Tufts University (where Leo Lewis taught).  Lewis included it in a 1915 Tufts song book re-titled as “Campus Song” with lyrics slightly altered to refer to Tufts.   In the 1920s, MIT held a series of contests for a new alma mater song to replace the “Stein Song,” in part because its drinking theme became more controversial during Prohibition.  The attempts to change the song were not popular among students and alumni, and none of the winners caught on easily.  “Arise Ye Sons of MIT” by 1926 alum John B. Wilbur is now described as “MIT’s closest thing to an old alma mater”.


Manuscript of “A Stein Song” from the MIT Archives.


Frederic Field Bullard c1904, unknown photographer, from Technology Review

Vintage Recording of “A Stein Song” by Frederic Field Bullard and Richard Hovey from the Library of Congress

Vintage Recording of “Beam From Yonder Star” by Frederic Field Bullard and William Prescott Foster from the Library of Congress


“Bullard: The Man” by Gellet Burgess and “Bullard: The Musician” by Leo R. Lowry, Technology Review, January 1904, pp. 586-601

MIT Admissions History Page

Tech Songs: The MIT Kommers Book 1903 page by MIT Archives

Crams, Ralph Adams, “My Life in Architecture“, Little, Brown, and Company, 1936

The Boston Globe:
Boston Men Win Prizes in Music”, April 1, 1893
Composer Laid at Rest”, June 29, 1904
Tech Wants a New Song—Stein Song Too Painful”, February 26, 1922

The Tech:
Must We Be Collegiate?”, March 4, 1928
The Need for A Song”, January 9, 1925

Wikipedia (stub page only in German so far)

Love Calls to Thee: Early Drawings by Kahlil Gibran

Kahlil Gibran is best known as a poet and the author of The Prophet, but he was also an accomplished visual artist.  Most of his work is now in the Gibran National Committee’s Museum in his home town of Bsharreh, Lebanon.  However the following seven drawings reside in Harvard’s Houghton Library, a legacy of his brief but formative time in Boston.  Gibran drew these between the ages of 19 and 21 and gifted them to Josephine Preston Peabody, his close friend and poetic mentor who called him “my young prophet” and likely had a major influence on his most famous book.

The drawings were given to the library by Peabody’s later husband, Lionel Simeon Marks, who was a Harvard professor.  One contains an Arabic inscription by Gibran which was translated by Harvard Professor William Thomson as follows:

“Give heed, o soul, for Love calls to thee, so listen:
Open the doors of thy heart and receive Love and the King.”

Bertram Grosvenor Goodhue

Bertram Grosvenor Goodhue (1869-1924) was an architect and designer originally from Connecticut who spent a formative part of his career in Boston.  His architectural projects included the Los Angeles Central Library, campus buildings at Yale, West Point, and other universities, Saint Thomas Church and the Church of the Intercession in New York, and the Nebraska State Capital.  However his most familiar legacy may be the Cheltenham typeface that he co-designed, now used for headlines by The New York Times.

Goodhue began his architectural career in New York with an apprenticeship at the firm of James Renwick, Jr., who designed St. Patrick’s Cathedral.  In 1890 Goodhue won a competition to design a cathedral in Dallas, Texas.  Looking to complete the project as part of a younger firm, he chose the newly-formed Cram & Ferguson in Boston.

He and Ralph Adams Cram became collaborators and friends.  Cram later wrote “his pen-and-ink renderings were the wonder and the admiration of the whole profession, while he had a creative imagination, exquisite in the beauty of its manifestations, sometimes elflike in its fantasy, that actually left one breathless.  His personality was as baffling to any powers of description as was his artistic facility  Exuberantly enthusiastic, with an abounding and fantastic sense of humour, he flung gaiety and abandon widely around whenever he was in the temper to do so.”

Goodhue and Cram were core members of the Visionists, and Goodhue contributed designs to several of their publications, including the cover art for the Knight Errant journal.  During this period he also worked as a designer for other small presses.  In 1896 he co-designed the Cheltenham font (initially known as “Boston Old Style”) with Ingalls Kimball, director of the Cheltenham Press in New York.  (A native of W. Newton, MA, Kimball also co-founded Stone & Kimball press in Boston.)

Goodhue was a partner in Cram, Wentworth, & Goodhue (later Cram, Goodhue & Ferguson) from 1891 until 1914.  He collaborated on the neo-Gothic churches that made a name for the firm in New England, as well as the project that brought them national recognition– the master plan and key campus buildings for the US Military Academy at West Point.  After moving on to his own firm in 1914, he explored other styes including Spanish Colonial Revival and Romanesque.

Architectural sculptor Lee Lawrie worked with Cram, Wentworth & Goodhue and continued to collaborate with Goodhue through his life.  Lawrie is probably best known for the statue of Atlas in Rockefeller Center opposite St. Patrick’s Cathedral in New York.  He also designed a Gothic tomb for Goodhue within the Church of the Intercession.



My Life in Architecture by Ralph Adams Cram

The Architecture of Ralph Adams Cram and His Office by Ethan Anthony


Above: Portrait of Bertram Grosvenor Goodhue by fellow Visionist F. Holland Day. 1892.  Platinum print in the Library of Congress.


Above Bertram Grosvenor Goodhue (left) and Ralph Adams Cram (center) in their architectural office at 1 Park Sq., Boston, with a client (and a dog).  Courtesy of Cram & Ferguson archives.

Below: Sculpture of Goodhue by long-time collaborator Lee Lawrie.  Photo by Wikimedia user Einar Einarsson Kvaran.