out of:
A woman called the station and castigated 1 who had moved out of the citv. She said she blacks should be living near whites. The caller needed to  have pride in their communities, talk, Massey was confronted by a community
35. Home Ownership Anchors the Middle Class
rends in black and white suburbanization 'centages of blacks and whites who lived in the suburbs j 1980 (the last year for which research was available).
[ X \ blacks
58.5%
whites
56.5%
I\\\\\\\\\\J2O.6%
new york
I\\\\l8.2%
philadelpma^^^
st.luis

louston
32W]	16.9%
san francisco-oakland
LWWWWWWWWWl 36.8%

91.7%
Ikansas cil
_J4.8%
60.2%
source: Douglas S. Massey and Nancy A. Denton, "Suburbanization and
Segregation in U.S. Metropolitan Areas," American Journal of Sociology
told him that pursuit of integration by leaving the black ghetto was a dilution and betrayal of black political interests. Massey said he was stunned.  The bottom line is that I don t know'of any story that begins with segregation and endsup with economic success. Segregation makes oppression easy and efficient. It allows disinvestment in the black community and it ultimately means the end of hope for the future. 
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161
The Ethnic Legacy
Ethnicity is often associated with immigrants and with alien importation of culture, language, stories, and food from foreign shores. Appalachian, western, and other regional ethnicities are evidence of multigenerational ethnic cultural development within the American reality. The persistence and ongoing process of humanity expressed in unique and intriguing folkways, dialect-languages, myths, festivals, and foods displays another enduring and public dimension of ethnicity. As this section s articles I illustrate, ethnic experiences may be less foreign and alien than most imagine them to be.
The persistence of contributions and concerns of various ethnic immigrant groups over many generations provided a deep weave and pattern to the material and social history of America. There is a consciousness of ethnic tradition, exasperation and anger about stereotypes, and efforts to institutionalize ongoing attention to groups as the most relevant aspects of groups identity are ever present and clearly growing in interest and magnitude. Change and ethnicity are not contradictory, for each generation creates anew its ethnicity, which, alongside other affinities, affiliations, and loyalties, helps to guide our interaction with each other. Some present concerns of ethnic groups include language, preservation of neighborhoods, ethnic studies, and the rearticulation of historical claims to fairness, justice, and equity.
Perhaps the most obvious oscillation between celebration of achievement and concern about fairness is seen in the legacies of persons and groups that constitute ancestry-conscious populations. That such populations should be denied their distinctiveness through absorption into the mass of modernity and that their distinctiveness can accompany them into mainstream modern American identities are parallel lines of argument for their insistence that their ethnicity is not a form of diminished existence,
but that they are  American Plus  America multicultural affinity and competencies in mon culture.
The winds of social change, whether in the plains, Eastern Europe, or in the internal m populations reveal the varied texture of etf America. These articles explain the transmissic tradition in music and suggest linkages betwe and ethnicity. The story of the interaction of etl religion is curiously exposed in the etymok Greek word ethnikos (i.e., the rural, Gentile, people of the ancient Mediterranean world). Th philological roots no longer drive our princi] standing of ethnicity, the experience of social c cultural affiliation elaborated in the following art ethnics deepens our awareness and unders ethnicity a changing yet persistent aspect identity and social cohesiveness.
Looking Ahead: Challenge Questions
Does ethnicity of an earlier era adequately s tension between worlds of meaning discuss
section?
D es the legacy of multiple ancestral origins ethnic identities of European Americans from era in America argue for the passing relevant ethnic populations and their marginality to t
ethnic issues of our time?
What is a central ethnic issue? By wha: decide the importance and preferential pt ethnic group vis-a-vis another group?
What lessons can be learned from the -settlement experiences of Eastern and o peans?
162
Article 36
Early Italian Sculptors in the United States
Regina Soria
College of Notre Dame of Maryland, Baltimore, Maryland
Among constructive projects for the Bicentennial celebrations, a thorough and objective study of the cultural history of the United States, focusing on the Italian contribution to the artistic consciousness of this country, at least up to 1876, would surely be fruitful, and, for a great many Americans, quite revealing. During the Centennial celebrations, in 1876, the Exhibition at Philadelphia showed that the arts had progressed and flourished in America, to a sufficient extent as to make it plausible to talk of an American art. To those who visited the Exhibition it was quite evident that most of the native artists during the first one hundred years of the American republic had gone abroad, for shorter or longer periods, in order to acquire or perfect their skills. In fact most especially the sculptors, had gone to Italy.	'
Writing in 1853 in My Consulship, Charles Lester, American consul at the Court of Savoy stressed "the mysterious tie which unites men bom in this country with those bom in the land that gave birth to Columbus and Vespucius."1 He advocated that Italians be invited to come to America, to give the benefit of their way of life and genius in art, so as to help America create treasures for new museums, art galleries and palaces similar to those he admired in Italy. Travelling through that country Lester was well aware that American sculptors such as Hiram Powers, the Greenoughs, and Thomas Crawford who had worked in Florence and Rome in the second quarter of the nineteenth century, and who had received commissions from the U.S. Congress to decorate the Washington Capitol and many other public buildings in different states derived much of their success from dose relationship to Italian craftsmen. Indeed, they owed early commissions to the desire of some of the founX fathers especially Jefferson-to establish an artistic dF mate m America that would embellish her in a faXL .
rival European dries. The pabular
Jefferson was naturally one in keeping Jith the S cratic ideals of the young Republic. The choice inevitX fell upon the nineteenth-century Neodassical moi Y
Reprinted by permission from ltaiian Americana
Neoclassical art, of which Antonio Canova the most important exponents, had a decisive on nineteenth-century American sculpture. No: for a long time it was little known and even si "academic." Now that a new long look is beinj nineteenth-century painting, it is time for the who brought so much art to America to be rest their oblivion. Their contribution should be r and cleansed of the stigma of academic coldr nelius Vermeule stated clearly:
The artistic movement known as Neoclassicisn gripped Europe from 1760 to 1820, began for a { reasons once defined with utmost simplicity and i in increasingly complex terms. Pompeii and H eaum were rediscovered and excavated. Stuart an published their Antiquities of Athens (1762) and bu tures comparable to the Propylaea and the little by the Ilissos in the English parklands. Wine History of Art Among the Ancients (1764) gave substance to the notion of quality in ancient French Rococo had run its course as a reaction to 1 French Baroque, and the artistic extravagance French court were associated with increasingly in political beliefs and practices. Writers made thes and practices seem inconsistent with the ideals uity. When the new humanism of the American and Italian revolutions burst upon Europe, th purity, simplicity and spiritual containment of C were associated with the democratic virtues of th republic and ... of the early ages of Greece.2
More recently and more specifically Wayne C written:
Neoclassical Art implanted in this country by sue! Ceracchi, Franzoni and Andrei, and their cou who followed them to America in the second a decade of the 19th century . . . was thoroughly ' ble with the political and philosophical foundatk national government. The U.S. Capitol took a revival form because this country could align its< cally with ancient Rome . . . thus was Neodassk cessfully received in the early years of the Repu the Italian sculptors quite naturally carried the n cal style to America.3
How the Italian artists brought the Neoclassk America in the early days of the Republic, how in this country, and what impact their works f development of art in America is a fascinating
'  Vol. 2, No. 1, Spring 1976, pp. 171-189.
164
^Giuseppe Ceracchi is not the first Italian sculptor to come to America, he is surely the most important one. Ceracchi introduced the portrait bust to America; it was to become the most significant form of American sculpture in the early nineteenth century. Everyone familiar with Houdon's statue of George Washington knows that it was done de visum, from life. Not many know that the only other sculptor to do the General de visum was Ceracchi. Houdon's statue of Washington in military dress enjoys much fame and is admired for its realism. Yet contemporaries and Washington's family said that Ceracchi's sculpture was truer to life.
Ceracchi persuaded George Washington to sit for a few hours and he modelled the bust in terra cotta, larger than life. Ceracchi did two marble renditions of his Washington; one is at the Metropolitan Museum of Art, the other at Gibbes Art Gallery, Charleston, South Carolina. Other marble versions of his original were later done by other hands. One is in Baltimore, one is at the White House (bought by President Monroe), and one is in the National Portrait Gallery. Another copy, ordered by the City of New Orleans, was put up for sale some years ago, for offidals did not know who the portrait represented. It was purchased by James Lamantia, an archite