DC -- Ford's Theatre NHS (Center for Education and Leadership) -- Exhibit: Torn in Two:
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Description of Pictures: Torn in Two: 150th Anniversary of the Civil War
December 11, 2012-February 24, 2013
Special Exhibition in the Center for Education and Leadership
The American Civil War is one of the defining events in American history. To commemorate its 150th anniversary, Ford’s Theatre will present Torn in Two: 150th Anniversary of the Civil War. This exhibition, created by the Norman B. Leventhal Map Center at the Boston Public Library, takes a geographic and cartographic approach to exploring and illuminating the causes of the conflict, the conduct of the War and how the War was remembered in later years. It will showcase historic maps interwoven with photographs, prints, political cartoons, music and press of the period, largely from the Boston Public Library’s special collections.
The exhibition is divided into three major temporal sections. The initial section, “Rising Tensions,” examines the economic, social and political differences between North and South that led to war. “Nation in Conflict,” focuses on the War itself—the strategies and how it was conducted as well as how those at home followed the War’s progress and contributed to the war effort. And the final section, “Remembering Heroes,” documents the nation’s attempts to commemorate the battles and honor the lives that were lost during the War.
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TORN_130105_003.JPG: Torn in Two: 150th Anniversary of the Civil War:
The Civil War, from 1861 to 1865, is the centerpiece of our nation's story. It looms large, not merely because of its brutality and scope but because of its place in the course of American history. The seeds of war were planted long before 1861 and the conflict remains part of our national memory.
Geography has helped shape this narrative. The physical landscape influenced economic differences between the regions, the desire to expand into new territories, the execution of the conflict both in the field and on the home front, and the ways in which our recollections have been shaped.
Maps enable us to present the complex strands that, when women together provide a detailed account of the causes and conduct of the war. These visual images remain a salient aspect of our memory. Photographs, prints, diaries, songs and letters from the richness of the Boston Public Library's many holdings enhance our ability to tell this story, when our nation, as a Currier & Ives cartoon depicts, was "Torn in Two."
TORN_130105_010.JPG: Before the War: 1820-1861:
Rising Tensions:
Most Civil War timelines begin in April 1861 with the Confederate firing on Fort Sumter, a federal facility in South Carolina which had seceded five months earlier. Those shots were the technical start of the war but the underlying causes had been present for decades. Diversity had been the hallmark of the individual thirteen colonies, but becoming a nation took more than merely declaring independence.
These fledglings shared a common purpose. Hard work would result in the virtue and dignity necessary to participate in a republic. Yet tensions did not ebb as the founders had hoped, nor could compromise and political balance serve as a safeguard against increased differences of economics, politics and moral sensibilities as the nation expanded physically and demographically.
Each side, South and North, slave and free, believed that it was the legitimate heir to fulfill the nation's destiny but they became so incompatible that the differences threatened to truly "tear the nation in two."
TORN_130105_028.JPG: Before the War:
One Country, Two Cultures:
By 1861, life was very different north and south of the Mason Dixon line. Although neither was monolithic, the North was characterized by industry, reliable transportation and a wage labor force that had been bolstered by internal and transatlantic migration. A burgeoning middle class arose and a new Republican Party promised that the free soil of western territories would enable all men to participate in fulfilling the Founders' vision.
Southern politicians also wanted to expand the nation but in service to an agricultural system built on slave labor. Limited rail transportation and few urban areas were not a problem for the realm where cotton was "king." The small farmer could aspire to enter the planter aristocracy, as long as the new territories would allow slavery.
TORN_130105_046.JPG: Shaw Memorial:
During the last three decades of the 19th century, many important sculptures were added to the nation's growing list of Civil War monuments. One notable example is the Shaw Memorial, which was designed by Augustus Saint-Gaudens, the nation's premier sculptor. It was first unveiled on Boston Common, May 31, 1897.
This monument immortalizes the brave soldiers of the all-black Massachusetts 54th Volunteer Infantry and their white colonel, Robert Gould Shaw. They gained recognition for their ill-fated attack on Fort Wagner near Charleston, South Carolina, July 18, 1863. Displayed here are two of the sketch models prepared by Saint-Gaudens and his assistants. The maquettes of the soldiers were based not on professional models but on regular African-American men that Saint-Gaudens hired to sit for him.
TORN_130105_071.JPG: Rail Road Map of the United States Showing the Depots and Stations:
At first glance, this vibrant map depicts a prosperous and unified country, accentuated by a cartouche adorned with an eagle symbolizing national unity. A vignette displays a train and steamboat departing the countryside for the city, suggesting a natural progression of economic development.
However, closer examination reveals major regional differences. The North has a dense pattern of geographic development, dotted with cities and towns connected by a complex railroad network. By contrast, the rural southern states have much less urban development and railroad mileage.
These opposing settlement patterns reflected differing ways of life that underlay the frictions threatening to tear the country apart. Two regions that did not share a common economy, culture or philosophy concerning slavery constituted this divided "nation."
TORN_130105_086.JPG: Bird's-Eye View of New York City:
The geography of the antebellum North was characterized by numerous cities and towns. The largest and most influential of these was metropolitan New York. By 1860, the city counted 814,000 residents, but neighboring Brooklyn and northern New Jersey swelled the population to more than 1.2 million people.
While New York was primarily a mercantile city driven by maritime trade and commerce, it also had a substantial industrial sector. A large portion of the city's wealth was generated from trade with the southern states and textile manufacturers from New England.
This bird's-eye view, highlighting Lower Manhattan, provided an iconic image of the city's mercantile and industrial activity. The waterfront is lined with docks and ships, while church spires pierce the skyline and factory chimneys belch smoke.
Charles Parsons, 1854
TORN_130105_092.JPG: Map Showing the Distribution of the Slave Population of the Southern States of the United States Compiled from the Census of 1860:
One of the first statistical or thematic maps published in the United States, this map plots the percentage of slaves by county for the southern states based on 1860 census data. The map emphasizes several major concentrations of slavery throughout the region, particularly where commercial plantation agriculture was most profitable -- tobacco, sugar and cotton being the cash crops. It also indicates that many counties had few or no slaves.
Attesting to this map's importance to Abraham Lincoln, it was deliberately depicted in Francis Bicknell Carpenter's oil painting First Reading of the Emancipation Proclamation of President Lincoln. The artist's memoir records Lincoln's fascination with the map, not just for its symbolic power, but because it allowed him to follow and plan military movements, and to relate those actions to his emancipation policies.
Edwin Hergesheimer, 1861
TORN_130105_111.JPG: Help from the Home Front:
Those on the home front were eager to help in any way that they could. Everyone knew someone who was wounded or had lost a son, brother or husband in the war. For those who were convalescing, the smallest gift might bring comfort.
As suggested by this printed slipper pattern, a pair of soft and warm slippers would be most welcome. The pattern was easily followed, and, for the price of a single postage stamp, they could be sent to a central location in Philadelphia and then distributed to those in need. The pair of slippers here are newly made by a modern "lady from Philadelphia."
TORN_130105_116.JPG: Hospital Slippers for the Sick and Wounded Soldiers of the Union
Henry C. Blair, 1861
TORN_130105_143.JPG: Carte Figurative et Approximative des Quantites de Colon Brut Importees en Europe en 1858, en 1864 et en 1865:
(Figurative Map with Approximate Quantities of Imported Raw Cotton in Europe in 1858, in 1863 and in 1865.)
Besides supplying raw cotton to northern textile mills, the South also developed an extensive trade with Europe. This innovative graphic created by French engineer Charles Minard provides a global perspective of the mid-19th-century cotton trade.
Specifically, it demonstrates the dramatic changes that occurred in the quantities of cotton imported into Europe before, during and after the war. According to Minard's research, the South accounted for 84% of this volume before the war, but, with the North's blockade of the southern coast, that share dropped to less than 10% during the war.
While Confederate politicians hoped to leverage the European dependence on southern cotton into international recognition and military aid, European industrialists turned to Europe and the East Indies for their supplies.
Charles Joseph Minard, 1866
TORN_130105_148.JPG: Before the War: Anti-Slavery Movement:
Many southerners defended slavery as a "great moral, social, and political blessing" far superior to the wage "slavery" of the North. Yet there was increasing opposition. Some decried its economic inefficiency. Other saw it as an impediment to the growing republic.
At the core of the opposition were those who objected to slavery on moral and humanitarian grounds. This group was an extension of other social movements of the time and an intellectual heir of the Transcendentalists. Located throughout the Northeast with a strong New England presence, proponents called for the complete abolition of slavery throughout the Union and its territories. They provided aid for those who bravely ran away, supplying guidance, resources, and safe harbor along the Underground Railroad.
TORN_130105_154.JPG: Freedom's Tracks: A Map of the Underground Railroad:
This modern reconstruction presents a comprehensive depiction of documented routes, stations and destinations of the Underground Railroad. It is apparent that there were many journeys generally in a south to north direction, both by land and sea. Although the routes traversed all the states north of the Ohio River and the Mason-Dixon Line, there was a heavy concentration in the Mid-Atlantic and New England states.
By closely examining this map, it is evident that there were several routes in Maryland and Delaware, with one starting near Washington, D.C., and going north through Baltimore to Philadelphia.
Earl McElfresh, 2005
TORN_130105_191.JPG: Anthony Burns:
Of the many fugitive slaves coming to the North, one who received considerable publicity was Anthony Burns. As depicted in this print, he escaped slavery in Virginia and ran away to Boston. Subsequently, he was arrested and tried under provisions of the 1850 Fugitive Slave Act. Following a protest rally at Faneuil Hall and attempts to "rescue" Burns, President Franklin Pierce sent federal marshals to ensure order and a military escort for Burns's return to Virginia. Eventually Boston sympathizers purchased his freedom.
The case stirred passions among those who had been indifferent. While the ultimate statement of slaves as property would come with the 1857 Dred Scott decision, the Burns case was one more step on the road to disunion.
TORN_130105_202.JPG: Before the War: Sectionalism and Westward Expansion:
While the war would pit North against South, it was the West that became the catalyst for pre-war tensions. Physical expansion, with little regard for native populations, marked the nation's first decades, beginning with the Louisiana Purchase and then adding other lands via treaty or war.
Indeed it was the nation's Manifest Destiny to expand to the Pacific Coast, but which vision would prevail in these new territories? Compromise and political balance had enabled this growth, but after the War with Mexico, the national struggled to determine the destiny of these lands -- slave or free. For a decade before Fort Sumter, Americans battled in the courts, state houses, Congress and on the land itself. Lincoln's election in 1860 led the southern states to believe that secession was their only option.
TORN_130105_208.JPG: Map of the United States, Showing by Colors the Area of Freedom and Slavery... Exhibiting also the Missouri Compromise Line:
Published as a campaign poster supporting the Republican Party's first presidential bid in 1856, this broadside provides a commentary on the geographical sectionalism that was polarizing the nation. Using 1850 census data, it tabulated the demographic and economic differences between free and slave states, highlighting political concerns that the balance of Congressional power would shift as newly acquired western territories were admitted as states into the Union.
The map clearly marked the 1820 Missouri Compromise line, which had defined the boundary between free and slave states. However, the passage of the 1854 Kansas-Nebraska Act nullified this long-standing compromise line, and potentially opened the entire western territory to slavery because it sanctioned "popular sovereignty," whereby citizens of each territory could vote on the slavery issue.
TORN_130105_226.JPG: Map of Eastern Kansas:
The Kansas-Nebraska Act of 1854 established two new territories with a provision that settlers would decide whether they entered the Union as free or slave states. This legislation negated the 1820 Missouri Compromise, which previously designated Missouri's southern boundary as the dividing line between free and slave states.
As eastern Kansas was settled during the 1850s, intense competition and armed conflict developed between pro-slavery and anti-slavery (Free State) factions, and the territory came to be known as "Bloody Kansas." Pro-slavery settlers moved from neighboring Missouri, which permitted slavery, while groups such as the New England Emigrant Aid Company promoted anti-slavery settlement.
Published in Boston, this map reflects anti-slavery sentiment. The marginal illustrations depict the ruins of Lawrence's Eldridge Hotel and Topeka's Constitution Hall, both havens for Free Soilers.
EB Whitman and AD Searl, 1856
TORN_130105_229.JPG: Arguments of the Chivalry:
Congressional reaction to the Bloody Kansas situation is captured in this shocking and unsettling image by Winslow Homer. It evokes the rising tensions among abolitionists and slave owners in the years preceding the Civil War.
The cartoon depicts an infuriated Preston Brooks, Representative from South Carolina, beating Massachusetts Senator Charles Sumner with a cane on the floor cf Congress. The beating was in retaliation for Sumner's anti-slavery speech "Crime against Kansas" delivered May 19-20, 1856.
The sarcastic use of the word "chivalry" in the cartoon's title expresses northern views that the graceful and refined manners of southern gentlemen were disingenuous, considered many owned slaves. With this violent assault, Brooks succeeded in positioning Sumner as a martyr for the anti-slavery cause.
Winslow Homer, 1856
TORN_130105_241.JPG: Complete Map of the Railroads and Water Courses in the United States & Canada:
As sectional tensions increased during the late 1850s, there was rising sentiment among southern states advocating secession. However, the spark that ignited the secessionist movement was Republican Abraham Lincoln's victory in the 1860 Presidential election. Fearing the loss of their rights as slaveholders, seven states seceded and formed the Confederate States of America with Jefferson Davis as President.
Originally published in 1859, this rare railroad map was overprinted to show the first states to secede. The initial boundary of the Confederacy is marked by a heavy red line.
Also depicted is the first flag of the Confederate States of America, the "Stars and Bars." It was placed over the state of Alabama, signifying Montgomery as the first capital of the Confederacy.
Charles Magnus, 1859
TORN_130105_261.JPG: During the War: Nation In Conflict:
The Civil War was unlike any other in United States history. Fought completely on American soil, armies were most successful when they had accurate knowledge of the terrain. The South had an early advantage, not only because its troops had superior military leaders, but because most of the battles occurred on its home territory. Thus, the Confederacy needed to wage a defensive campaign only. Reliable cartographic information was limited or absent and severely hindered northern efforts, often resulting in high casualties.
The war was all encompassing and every American had a personal stake in its course. Soldiers were recruited, supplied, trained, and transported. Casualties were high and many civilians helped care for the wounded. Those on the home front raised money, provided comfort and longed for news of their loved ones. Visual images such as maps, photographs, cartoons and prints told the story as it unfolded. Traditional means such as letters, diaries and sketches also provided detailed accounts of the conflict.
TORN_130105_269.JPG: Official Map of the State of Virginia from Actual Surveys by Orders of the Executive, 1828 & 1859:
At the beginning of the war, few detailed topographic maps were available for officers for planning movements and engagements. In addition, some moderate-scale state maps, which could be used for planning broader regional strategies, were out-of-date. This was especially true for Virginia, where many of the battles were fought.
Although this 1861 Virginia map claims to be official, accurate and current, the title is misleading. It was not an official state publication; rather it was produced by a commercial firm located in New York City. It was derived from an 1859 state map, which was a hurried revision of an earlier 1828 state map. The latter map did incorporate county surveys, but they were inconsistent in scale and data collected.
James T. Lloyd, 1861
TORN_130105_299.JPG: During the War: Geography of War:
Terrain influenced strategies and often determined outcomes. Knowledge of the landscape meant victory or defeat. Except for coastal; areas, there were few large-scale topographic maps of the theaters of war available to military strategists prior to engagement. These factors gave military leadership in the South an initial advantage.
The North created broad geographical strategies that would capitalize on its economic strengths, particularly the disruption of trade, which included a naval blockade of southern ports, control of the Mississippi River and destruction of supply routes. Both sides were determined to capture each other's capital. Although Washington D.C., was threatened several times, the Confederate capital of Richmond remained an elusive goal until the war's end.
TORN_130105_314.JPG: Map of Fredericksburg
Henry Ropes, December 18, 1862
A Personal Account from the Warfront:
Invaluable insights about military life and detailed eyewitness accounts of individual battles can be gleaned from letters that soldiers sent to loved ones at home, such as those written by Boston resident Henry Ropes, pictured in a period carte de visite. He wrote extensive letters to his father and brother, often three of four pages in length. Occasionally he drew rough sketch maps to illustrate individual battles, including one of Fredericksburg, Virginia.
Ropes's last letter was dated June 27, 1863, as his unit was marching through Maryland toward Gettysburg. He was fatally wounded by friendly fire on the morning of the third day of the battle. The last item in the volume is a rough sketch map prepared in October 1863 by his brother John, noting "H.R. died here."
TORN_130105_339.JPG: Lieutenant Henry Ropes
TORN_130105_340.JPG: Sketch map showing were Henry Ropes Died at Gettysburg
TORN_130105_355.JPG: "Col. Ellsworth's Funeral March":
Printed sheet music increased in popularity during the middle of the 19th century as printing technologies improved and music playing in middle-class homes became a fashionable pastime. The production of music scores quickly shifted to wartime needs after the Confederate attack on Fort Sumter. Decorative covers were added to the printed scores to adorn and advertise the lyrics, display powerful visual images and convey the glory and struggle of the conflict.
Musical compositions relating to the Civil War highlighted the accomplishments of individual regiments, specific battles or major military leaders such as Col. Elmer Ellsworth. A close friend of Abraham Lincoln, Ellsworth was the first prominent casualty of the war when he was killed in Alexandria, Virginia, as he attempted to remove a Confederate flag raised over a local hotel.
Septimus Winner, 1861
TORN_130105_398.JPG: [Ford WOodbury]
Erected by the 4th Michigan Regt., September 1861 in Virginia:
One of the geographic strategies for both armies was the capture of the other's capital. Washington D.C., was situated precariously on the Potomac River, sandwiched between Maryland, a slave state that did not secede, and Virginia, one of the last slave states to secede. As a primary defense against Confederate attack, Union troops constructed an extensive ring of earthen forts and batteries around the city.
One of the these defensive works was Fort Woodbury, located near present-day Arlington Court House, Virginia. It was constructed by the 4th Michigan Regiment commanded by Col. Dwight Woodbury. Camp life, as well as the interior layout of the fort, was recorded in this watercolor sketch by an untrained artist, possibly a young soldier from the 1st Michigan Infantry.
M. Fox, 1861
TORN_130105_408.JPG: A Complete Map of Richmond and its Fortifications:
Richmond, which became the Confederate capital in mid-1861, was situated less than 100 miles south of Washington, D.C. Confederate troops also fortified Richmond with a ring of forts, as depicted on this map. As a reminder of a northern audience that Richmond was the target, the publisher placed a series of concentric rings around the city.
The Confederate capital remained an illusive target of Union military campaigns until the end of the war. During the first days of April 1865, the city fell to Union troops under Ulysses S. Grant's command, and by April 9, Robert E. Lee surrendered his army at Appomattox Court House, bringing the war to an end.
1863
TORN_130105_421.JPG: A Complete Map of Richmond and its Fortifications:
Within a Circle of 12 Miles showing the numerous FORTS, BATTERIES and the Range of their Fire, and the various obstacles that impede the approach of the Federal Army, also, the principal Towns & Plantations, in the immediate vicinity of Richmond, together with several of the BATTLE FIELDS of 1862.
As a guide to note the approach of the Federal army, this map is invaluable, as the plan of its fortifications is taken from a correct drawing of a southern engineer, who recently escaped to Europe.
Publd by W.H. Forbes & Co., 265 Washington St, Boston
TORN_130105_434.JPG: Map of the Seat of War!
This elaborate broadside, published at the beginning of the war, was intended for the general public. For families tracing the movement of husbands, sons and relatives, maps such as this served as a visual aid for following the progress of the war from home.
It is composed of six inset maps and several illustrations. One map depicts northern Virginia and most of Maryland, where many of the war's battles would be fought. Another portrays the connection by rail of major cities along the Northeastern Seaboard from Massachusetts to Virginia. The illustrated included portraits of Gen. Benjamin Butler from Massachusetts; Harpers Ferry, site of John Brown's raid; and Col. Elmer Ellsworth, the war's first prominent casualty and a virtual son to Abraham Lincoln. Lincoln was so devastated by the death of Ellsworth, who had once been a clerk in Lincoln's Springfield law office, that the president ordered his body brought to the East Room of the White House for a funeral.
1861
TORN_130105_445.JPG: During the War: Living Room War:
From today's perspective, many regard Vietnam as the first "living room" war, with evening television programs bringing the latest news to the kitchen tables and living rooms across America. But the Civil War was really the first! Just as we go online or watch CNN for immediate updates on the current conflict, those on the Civil War home front looked to daily newspapers and weekly magazines for current news on the war. Advances in communications, transportation and technology enabled information to be spread more rapidly than ever before.
The press told this story with words and images by publishing cartoons, photographs and sketches. Theater of war and battle maps allowed viewers to follow troop progress. Traditional and more personal methods of communication, such as telegrams, soldiers' letters and diaries, brought poignant accounts of war home.
TORN_130105_467.JPG: It' interesting to see some of the city names that pretty well disappeared. Palmer's Tavern just south of the city for example.
TORN_130105_473.JPG: Panorama of the Seat of War, Bird's-Eye view of Virginia, Maryland, Delaware and the District of Columbia:
Illustrated here is one of three separately published bird's-eye views that provided a continuous panoramic perspective of the southeastern United States coast, extending from the Chesapeake Bay to Florida. Together they highlighted the Union naval blockage of the Confederacy, showing coastal fortifications pictorially as well as ships guarding the coast and major harbors.
It is truly remarkable that these views were the work of one man, Swiss-born artist John Bachmann. He did not have the ability to observe such a large part of the country from an elevated perspective of than his own creative imagination. Such views were not particularly useful for planning military maneuvers because of exaggerated topography and inconsistent scales. Rather, they were intended to assist a living room audience in visualizing the geographic areas where the battles had and would occur.
John Bachmann, 1861
TORN_130105_485.JPG: It's somewhat hard to imagine Fort Monroe as an island today since the land has been built up with fill. The first land battle of the war was fought at Big Bethel, shown north of the fort.
TORN_130105_491.JPG: Sutherland Station and Amelia Courthouse, north of Petersburg, would be stops on Lee's Retreat in 1865. Tiny City Point, to the south, became a major Union port in 1864-1865, and ended up being one of the largest cities in Virginia by the end of the war.
TORN_130105_498.JPG: Way up the James River from Petersburg is tiny "Appomatox C.H." where Lee would surrender. The battle of Saylers Creek, Lee's last major battle, would be fought near Farmville.
TORN_130105_503.JPG: West Point was used as a Union port during McClellan's failed Peninsula Campaign.
TORN_130105_517.JPG: Harpers Ferry is at the junction of the Potomac and Shenandoah rivers. John Brown was hung in Charlestown to the west. Sharpsburg, along the Antietam creek, is up the Potomac to the east.
TORN_130105_538.JPG: War Telegram Marking Map:
During the war, commercial firms located in the North published a variety of war-related maps, primarily for the general public. This example focused on the theater of war in Virginia and Maryland, where "the decisive battles for Union will be fought."
As its title suggests, it was to be used by those following the progress of the war when they received news by telegram, a new technology that gained wide acceptance during the 1840s and 1850s along with the nation's expanding railroad network. The small legend in the lower left also indicates that it was sold with colored pencils so the movements of the Union forces could be marked in red and those of the Rebel forces in blue.
Louis Prang, 1862
TORN_130105_556.JPG: "Diagram of the Battle of Ball's Bluff"
This schematic map illustrates the nature of newspaper maps and their role in helping to inform the public of the progress of the war. Published on the front page of The New York Times ten days after the battle, it accompanied an extensive article about the Battle of Ball's Bluff, which occurred on the banks of the Potomac River a few miles west of Washington D.C.
It was supposed to be a diversionary maneuver while a larger Union force moved against Confederate troops encamped near Leesburg, Virginia. The result was a disastrous retreat for Union troops, including the New York 42nd Infantry (Tammany) Regiment. The lack of good topographic information, which is almost totally absent in this quickly prepared diagram, contributed to their defeat.
The New York Times, October 31, 1861
TORN_130105_567.JPG: "The Locality of the Great Struggle"
The first major battle fought in Union controlled territory occurred September 17, 1862, in Washington County, Maryland, about 50 miles west of Washington, D.C. Known as Antietam Creek or Sharpsburg, it is now recognized as the bloodiest one-day battle in American history, with approximately 23,000 casualties.
Accounts of this battle started to appear in northern newspapers two or three days after the engagement. One of the earliest map-illustrated articles was published in the New York Tribune, on September 19. Although this map did not attempt to depict the military action of the day, it did show the general location of Sharpsburg and the surrounding countryside along the upper Potomac River. The Tribune published a more detailed map of the battlefield in the next day's issue.
New York Tribune, September 19, 1862
TORN_130105_577.JPG: Map of the Battle Ground of Greenbrier River:
One of the few commercially published maps prepared for a Confederate audience, this pictorial sketch depicts the Battle of Greenbrier River, or Camp Bartow. This battle occurred October 3, 1861, in Pocahontas County, Virginia (now West Virginia) as part of Union attempts to separate Virginia's western, non-slave-holding counties from the rest of the state.
While the results of this particular battle were inconclusive, this intriguing map reports the battle action from a Confederate perspective. For example, each of the Confederate regiments was pictured and named, while the opposing forces were labeled collectively as "Yankee" artillery, right flank and left flank. The latter was reportedly "repulsed" by the Confederate troops.
AT McRae, c 1861
TORN_130105_589.JPG: No. 230, Convalescent Camp, near Alexandria, Va.
This photograph shows the convalescent camp headquarters (center) flanked by barracks and other camp offices depicted on the adjacent map. Despite its idyllic appearance in the map's vignettes, it was known as "Camp Misery" and was the second such facility constructed during the Civil War in modern day Arlington County, Virginia. It was located near the present site of the Army-Navy Country Club.
Andrew J. Russell, c 1863-65
TORN_130105_600.JPG: Map of the New Convalescent Camp, Fairfax Co., Va., Four Miles S.W. from Washington, D.C.:
Casualties during the war were unprecedented, with 620,000 dying. The number injured was also quite high, and their care was an important priority, particularly for organizations determined to bring modern sensibilities to such undertakings. Among these was the newly formed U.S. Sanitation Commission, which attempted to shape the hygiene of camps, train nurses and form ambulance corps.
This ground plan, reflecting many of their objectives of order and efficiency, depicts a convalescent camp near Washington, D.C. This plan reflects the vision of the Commissions Executive Secretary, Frederick Law Olmsted, who would become one of the great designers of public space in the post-bellum period, including New York City's Central Park.
LH Russell, 1863
TORN_130105_612.JPG: 1865-1900: After the War:
Heroes Remembered:
How do we remember something? What images linger? And how do these visual recollections affect our memory of events?
How do we choose to tell the story of the war that almost dissolved our nation suggests its magnitude, important and centrality in our collective and individual memories. Visual images comprise an important part of this narrative. As technology improved during the second half of the 19th century, the ability to create and disseminate memorable images expanded greatly. What the viewer understood or remembered varied, but the presence of a common visual experience was part of the formation of a collective culture with a shared sensibility.
Yet different memories of the same events persist, leading to conflicting interpretations of the past. What is consistent is the need to remember, and to find some way to honor and thank those who, as Lincoln proclaimed, sacrificed their lives "to that cause for which they gave the last full measure of devotion."
TORN_130105_626.JPG: After the War: Remembering Heroes:
Given the magnitude of the war, there has been a strong desire to honor both individuals and groups that participated. Who is memorialized and the ways in which these memories are portrayed shape our understanding of the past. The war has been remembered throughout the United States with each locality emphasizing its contribution and loss. These tributes include elaborately decorated posters, music scores and monuments constructed of stone or bronze. They all remind us of the conflict's lingering presence and the individual loss felt by so many of the nation's families.
TORN_130105_644.JPG: The bold soldier boy.
The main illustration is explained more fully later.
TORN_130105_648.JPG: Hail to the Chief
TORN_130105_653.JPG: We'll be free and easy still
TORN_130105_660.JPG: Rogues march
TORN_130105_665.JPG: Glory Hallelujah
TORN_130105_670.JPG: The girl I left behind me
TORN_130105_675.JPG: Dixie
TORN_130105_687.JPG: "The Songs of War":
Composers rapidly produced "Songs of War," as suggested by this Winslow Homer illustration. It displays seven wartime songs, dominated by a vignette depicting a multitude of soldiers marching to war and singing the chorus "Glory Hallelujah." These songs reminded those on the home front of the soldiers' affections and the causes for which they fought.
Religious fervor was common in the 19th-century discourse. As the country divided, the rhetoric reflected the passion on both sides. The Battle Hymn of the Republic is a strong example of the juxtaposition of militancy and religion. A departure from the pacifist Protestant reform spirit of the 1830s and 1840s, clergy on both sides exhorted troops to show no mercy to their enemy as they sought justice.
Winslow Homer
Harper's Weekly, November 23, 1861
TORN_130105_693.JPG: Our Nation's Heroes:
Published in New York, this colorful broadside fosters northern patriotism and celebrates the heroism of Union military leaders. While the central focus is a small map of the eastern United States, it displays an array of graphic illustrations intended to appeal to a living room audience.
The marginal illustrations include portraits of 21 Union generals and commodores, as well as a variety of military memorabilia. There are also three vignettes -- one depicting 14 soldiers dressed in different Union uniforms, another illustrating the battle between the two ironclad ships Monitor and Merrimack, and the third, a symbolic representation of the Star-Spangled Banner flying gloriously over a battle scene.
1863
TORN_130105_698.JPG: Gen. McClellan
TORN_130105_702.JPG: Gen. McDowell
TORN_130105_706.JPG: Gen. Burnside
TORN_130105_710.JPG: Gen. Butler
TORN_130105_714.JPG: Gen. Grant
[Really??]
TORN_130105_719.JPG: Gen. Hancock
TORN_130105_723.JPG: Com. Dupont
TORN_130105_727.JPG: Com. Foote
TORN_130105_731.JPG: Com. Farragut
TORN_130105_735.JPG: Gen. Pope
TORN_130105_740.JPG: Gen. Sigel
TORN_130105_744.JPG: Gen. Mitchell
TORN_130105_750.JPG: Gen. Wool
TORN_130105_754.JPG: After the War: Remembering the Battle of Gettysburg:
Few events have loomed larger in the history of the war on our nation's memory than the three-day battle of Gettysburg in southern Pennsylvania in July 1863. But how has that turning point been remembered? We have Lincoln's few short words delivered at the dedication of the national cemetery. Matthew Brady's photographs and -- as was common practice -- maps drawn after the battle.
The Gettysburg battle maps were drawn under the auspices of an increasingly powerful Federal government, and subject to a pervasive call for common standards. These and many more maps, along with other artistic presentations, have shaped our collective understanding and recollection of this most important battle that illustrates and symbolized our nation being almost "torn in two."
TORN_130105_760.JPG: [Bird's-Eye View of] Gettysburg Battle-Field:
This bird's-eye view of Gettysburg was one of the first and most attractive cartographic representations published after the battle. Despite its rapid production within a year of the engagement, its compilation was based on substantial research and provided a reportedly accurate portrayal of the military action and battleground.
John Bachelder, a military instructor, historian and artist before the war, was responsible for its compilation and publication. As hostilities began, he decided to follow the war in order to document its one decisive battle. He arrived at Gettysburg as the dead still lay on the ground. He spent 84 days traversing the battlefield, sketching its topography and interviewing convalescing Confederate soldiers, Union officers and local residents in order to gather information for this meticulously researched view.
John B. Bachelder, 1863
TORN_130105_800.JPG: [Panoramic View of the Gettysburg Battlefield] for use with the Cyclorama of the Battle of Gettysburg by Paul Philippoteaux:
Of the approximately 150 maps that were published in the years following the Battle of Gettysburg, one of the most unusual is an unconventional fish-eye or 360-degree panoramic view. It illustrated a souvenir brochure for the Gettysburg cyclorama painting that was displayed in Boston from 1884 to 1889. Created by French artist Paul Philioppoteaux [spelled two different ways on the sign], the painting depicted Pickett's Charge -- the failed Confederate infantry assault on Union lines, which was considered the climax of the three-day battle.
The artist first created a Gettysburg cyclorama in Chicago, but then prepared similar panoramas for Boston, Brooklyn, and Philadelphia. Taken out of storage in 1913, the Boston painting was moved to Gettysburg, where it is still displayed in the National Park Service's Visitor Center.
Boston Cyclorama Company, 1886
TORN_130109_002.JPG: The True Issue or "Thats Whats The Matter":
Published late in the war during the 1864 Presidential campaign, this political cartoon depicts Abraham Lincoln and Jefferson Davis pulling on opposite ends of a map, tearing the United States in two pieces. General George McClellan, who ran on the Democratic ticket challenging Lincoln, is positioned in an intervening stance in the background.
This image, incorporating caricature and map, graphically demonstrates the significance of the Civil War to the course of American history. This conflict almost dissolved a tenuous union forged 85 years earlier. The sectional tensions of the 1840s and 1850s led to the secession of 11 southern states and four years of armed rebellion.
TORN_130109_014.JPG: Gen. Banks
TORN_130109_027.JPG: Scott's Great Snake:
In the spring of 1861, when war was inevitable, Union Army General-in-Chief Winfield Scott devised a long-term strategy to economically and militarily crush the Confederacy. The plan called for a naval blockade of southern ports and a major offensive down the Mississippi River, thereby cutting off supply routes and dividing the South.
Scott's tactic was dubbed the "Anaconda Plan," as it was intended to constrict the insurgent states, as would a snake. The plan was depicted graphically in this 1861 pictorial map. Although not prevalent during the Civil War, propaganda maps such as this one were designed to have maximum emotional effect on the user.
J.B. Elliot, 1861
TORN_130109_040.JPG: Why Don't You Take It?
This political cartoon published by Currier & Ives highlights the importance of each army's attempt to capture the other's capital. Here, General Winfield Scott, the first commander of the Union armies, is depicted as a fierce bulldog fronting the might of the North.
Supported by supplies, munitions and financial resources, he taunts the sheepish greyhound "Jeff" (meaning Jefferson Davis). A great juicy bone labeled "Washington Prize Beef" rests between them, and Scott asks "Why don't you take it?" as the Confederate leaders slips away with his tail between his legs towards his meager supply of cotton. The cartoon suggests that the South had cotton but not many other resources, and did not have the means to seize the bone, or the capital city of Washington.
1861
TORN_130109_048.JPG: Letters of Henry Rope
TORN_130109_060.JPG: Map of Battles on Bull Run, near Manassas, on the Line of Fairfax and Prince William Counties, in Virginia:
This first map, published in Richmond, is one of only a few examples of battle maps produced by a commercial publisher within the Confederacy. This relatively simple diagram used pictorial symbols and text to provide a detailed account of the battle.
As indicated in the map's title, the battle was known by various names. The Confederates, who named battles for nearby towns, knew it as the Battle of Manassas. For the Union army, which often named battles for nearby rivers or streams, it was the Battle of Bull Run.
Solomon Bamberger, 1861
TORN_130109_103.JPG: The Battle of Bull Run or Manassas:
The first major battle of the war occurred July 21, 1861, near Manassas, Virginia, and important railroad junction approximately 25 miles west of Washington, D.C. The battle is illustrated here with two very different after-battle maps.
Map to Illustrate the Battle of Bull Run, Stone Bridge, or Manassas Plains:
The second map, prepared by a Union artillery officer, focused less on the battle action, but demonstrated its strategic significance in relation to Washington DC. Charge with defending the nation's capital, Union troops hoped to gain a quick victory over Confederate troops.
Anticipating a Union victory, which would bring a speedy end to the war, citizens from the nation's capital came in carriages with picnic lunches to watch the action. However, the poorly trained Union troops suffered a humiliating defeat, and both sides realized the war would not be resolved quickly.
William F. Barry, 1862
AAA "Gem": AAA considers this location to be a "must see" point of interest. To see pictures of other areas that AAA considers to be Gems, click here.
Bigger photos? To save server space, the full-sized versions of these images have either not been loaded to the server or have been removed from the server. (Only some pages are loaded with full-sized images and those usually get removed after three months.)
I still have them though. If you want me to email them to you, please send an email to guthrie.bruce@gmail.com
and I can email them to you, or, depending on the number of images, just repost the page again will the full-sized images.
Directly Related Pages: Other pages with content (DC -- Ford's Theatre NHS (Center for Education and Leadership)) directly related to this one:
[Display ALL photos on one page]:
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2014_DC_Fords_Technology: DC -- Ford's Theatre NHS (Center for Education and Leadership) -- Exhibit: Technology of War (81 photos from 2014)
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2013_DC_Fords_CEL: DC -- Ford's Theatre NHS (Center for Education and Leadership) (13 photos from 2013)
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2012_DC_Fords_CEL: DC -- Ford's Theatre NHS (Center for Education and Leadership) (142 photos from 2012)
2011_DC_Fords_CEL: DC -- Ford's Theatre NHS (Center for Education and Leadership) (8 photos from 2011)
2010_DC_Fords_CEL: DC -- Ford's Theatre NHS (Center for Education and Leadership) (8 photos from 2010)
2009_DC_Fords_CEL: DC -- Ford's Theatre NHS (Center for Education and Leadership) (1 photo from 2009)
2008_DC_Fords_CEL: DC -- Ford's Theatre NHS (Center for Education and Leadership) (2 photos from 2008)
2007_DC_Fords_CEL: DC -- Ford's Theatre NHS (Center for Education and Leadership) (3 photos from 2007)
2005_DC_Fords_CEL: DC -- Ford's Theatre NHS (Center for Education and Leadership) (2 photos from 2005)
2013 photos: Equipment this year: I mostly used my Fuji XS-1 camera but, depending on the event, I also used a Nikon D7000 and Nikon D600.
Trips this year:
three Civil War Trust conferences (Memphis, TN, Jackson, MS [to which I added a week to to visit sites in Mississippi, Louisiana, and Tennessee], and Richmond, VA), and
my 8th consecutive San Diego Comic-Con trip (including sites in Nevada and California).
Ego Strokes: Aviva Kempner used my photo of her as her author photo in Larry Ruttman's "American Jews & America's Game: Voices of a Growing Legacy in Baseball" book.
Number of photos taken this year: just over 570,000.
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