original working-class clientele and was now a staunch supporter of the conservative business community. Writing Dana's literary style came to be the style of The Sun—simple, strong, clear, boiled down. He recorded no theories of journalism other than those of common sense and human interest. He was impatient of prolixity, cant, and the conventional standards of news importance. Three of his lectures on journalism were published in 1895 as the Art of Newspaper Making. With George Ripley he edited The New American Cyclopaedia (1857–1863), reissued as the American Cyclopaedia in 1873–1876. Dana had an interest in literature. His first book was a volume of stories translated from German, entitled The Black Aunt (New York and Leipzig, 1848). In 1857, he edited an anthology, The Household Book of Poetry. His translation from German of "Nutcracker and Sugardolly: A Fairy Tale" was published in 1856 by the Philadelphia publisher C.G. Henderson & Co. In addition to translating German, Dana could read the Romance and Scandinavian languages. With Rossiter Johnson, he edited, Fifty Perfect Poems (New York, 1883). Dana edited The Life of Ulysses S. Grant: General of the Armies of the United States, published over his name and that of General James H. Wilson in 1868. His Recollections of the Civil War and Eastern Journeys: Some Notes of Travel in Russia, in the Caucasus, and to Jerusalem were published in 1898. Early in his journalism career, in 1849, he wrote a series of newspaper articles in defense of anarchist philosopher Pierre-Joseph Proudhon and his mutual banking ideas. They were published in collected form in 1896 as Proudhon and His Bank of the People by Benjamin Tucker, who did so partly to expose Dana's radical past, as Dana had late in life become quite conservative, editorializing against radicals, "reds," and the free silver movement. This book remains in print today through a Charles H. Kerr Company Publishers edition with an introduction by Paul Avrich. Art collecting Dana was an art collector. In 1880 he built a large residence in New York City on the corner of Madison Avenue and 60th Street and furnished it with paintings, tapestries, and Chinese porcelains, giving his greatest attention to his porcelains. He devoted much time and historical study in these areas of art throughout his life. An unnamed connoisseur praised the historical value and quality of items in his collection, noting that "they are not in the