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The poem that appeared near the photographs expressed his willingness to have black Americans included in the army and killed in his place. The picture caption explained the verse, as well as the photographs of black people and white mansions:. Charles Graham Halpine comes to the rescue, in his poem that follows on page , with a saving sense of Irish humor. Certainly, the line above presents a firm and soldierly front. Many of the colored regiments came to be well-disciplined and serviceable.

American Military History 09: Chattanooga to Appomattox 1863–1865

Their bravery is attested by the loss of life at Battery Wagner and in the charges at Petersburg crater. Many photographs of destroyed and partially destroyed southern buildings decorated the pages of the History without captions drawing attention to their beauty. When the white northern army destroyed something, apparently, it could be part of that great test of shared valor and pain that the book created. When black people seemed to take possession, as in these pictures, images of that possession, or merely presence, were viewed by The History as a desecration.

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North and South can now share this human weakness too. His work was popular or important enough to be reprinted in , and again in Hilton Head, one of the southern Sea Islands, was among the first southern territories taken by the Union forces. General Hunter trained members of its large freed slave population into the first African American unit in the Army. Halpine must have been part of that training program.

Presumably his dialect poetry was part of a propaganda effort to make black soldiers acceptable to New Yorkers, especially Irish New Yorkers, whose racism and resentment of participating in a war that would free black slaves, contributed to the New York draft riots of July, , in which black neighborhoods were destroyed.

The poems, that seem to us either cynical or racist or both and were presented in so equivocal a fashion in The History , were probably carefully calculated during the war to promote the cause of black fighting men. This author has seen one photograph of slaves among all those volumes. Work was the son of abolitionists in Connecticut and his dialect song this time African American dialect told of slaves taking possession of a plantation house when the master went off to fight.

The former slaves lived in the parlor and drank up the wine and cider. Southerners could simply laugh at the idea of African Americans taking possession of property, in this case, or having power over property, as in the photographs of former slaves in military formation at plantation houses. In the context of The History, northerners agreed with them. Those pictures show starving prisoners, unable to stand, some with their lower limbs literally rotting away.

Man for man, the images show bodily harm as haunting as any picture from Nazi death camps, but with the important difference that they are evidence of inhumanity to a number of soldiers, and not evidence of mass extermination. Neither the fate of African Americans, nor the extreme inhumanity demonstrated by those Andersonville images could be included in these volumes that sought reconciliation. Instead we have white heroes, dead and alive. The volumes of The Photographic History of the Civil War were intended to unite white Americans with a heroic past and a shared heritage, to use the words of the dedication, against the anxieties engendered by the possibility of someday changing the suppressed status of the former slaves and their descendants.

Photographs of black soldiers with a caption that said clearly what they had accomplished, like the terrible photographs from Andersonville, might have proved destabilizing to an equality of suffering important to the birth of that unity. The photographs were sold individually to put in albums and in stereoscopic pairs in great numbers during and after the war.

So common were photographic portraits of individual soldiers that the United States Military History Institute at Carlisle, Pennsylvania numbers among its projects the collection of a photograph of every single military participant in the war. Conceivably they will succeed. George N.

Civil War Records - Ancestry

He died poor and forgotten, the victim of over-confidence in the appetite for Civil War photographs in the period just after the war. Using the photographs, the book expressed the linking of North to South and the celebration of that reunion made possible by a shared memory of pain and made possible by a shared forgetfulness of the reasons behind the wartime desire and necessity to destroy the army of the other Section.

He concluded that Americans were peace loving and not military, and so he would give them a history of the war devoted to peace, notwithstanding the fact that the materials he had at hand had once served to rededicate populations to a military purpose of destruction. Oliver Wendell Holmes in his much-quoted article on photography in the Atlantic Monthly of July, the month of the battle of Gettysburg had tried to understand the photographs of the dead at Antietam.

His presence on the field almost certainly coincided with the visit of the photographers because bodies were buried as quickly as possible. His sensibilities and emotions were hugely strained by the experience, but he could yet face the necessity of winning the war even at the cost of what he saw. His audience was northern.

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He spoke of the deeds of the northern soldiers. If anyone had cared to look, northern soldiers were being arranged in graves with markers on the battlefield. The task would be completed by the spring of Southern soldiers meanwhile, remained in the mass graves where northern soldiers had been quick to heave them right after the battle. Oliver Wendell Holmes, close to the time of battle and in the midst of war, like Lincoln, had seen and understood this at Antietam.


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The author, Hilary A. The Japanese victors at Lio-Yang lost a mere The Civil War had proved that Americans were ready to face the world. The war has made the country unite in valor and the losses, the photographs of the dead along with memorials and ceremonies, were essential elements in bringing the birth of that union about. William Frassanito insisted in , that the photographs should bring history into the present and bring the past to life. In this his words were not unlike the prefaces to The History.

He succeeded very well.

But by studying the photographers he placed Alexander Gardner and his colleagues, their ambitions and needs, between readers and the events of the battle and made the photographs into documents in the history of photography and the biographies of a handful of men, more than documents in the history of the Civil War.

With the slight difference in titles, A Photographic History as against The Photographic History , it is easy to believe that author and his publisher were very aware of the similarities and the differences between the two enterprises.

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The comparison shows just how different the uses of photographs from the two wars could be. The Photographic History had multiple prefaces, introductions, articles and long titled captions written by a host of well-known or scholarly persons from both the North and the South. A Photographic History had but one author and editor who wrote laconic captions and introduced his volume with just a couple of double spaced pages of curt argument. For The History of the Civil War underlined the fact that the war was over by the theatrical arrangement of the themes in the many volumes and by the proscenium graphics and funereal flags that decorated so many pages.

For A History , the war was not over. There was no rising action coming to a crisis and denouement and no proscenium barrier to push the horror of war back into the past or into a theatrical structure away from the spectators. The First World War pictures were almost always bled to the edges of pages, with only a space for the brutally printed block capital captions on a strip of white paper at the bottom.

Sometimes the small captions were pasted or cut into a white rectangle in an insignificant part of the picture. In his title and in his introduction, after all, he perhaps coined the name First World War implying that there would be at least a second. In this anthology of pictures of the first world war there was no effort to satisfy any special interest or taste. A militarist will be disappointed in them for there are not enough pictures of guns and tactical groups.

A pacifist will not find enough horror, nor enough of cadavers. And a student of war can hardly follow, from these pictorial representations, the methods of infantry combat slowly evolving from close-packed slaughter of the trenches to the loosely-held butcheries later on…The editor is conscious of his short-comings in the matter of captions. Many should be more expert, more military.

Correspondence also includes two letters by Elizabeth R.

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Tilton concerning a theater engagement and the address of her husband's lecture agent, as well as two letters to the Editor of the Tribune from subscribers expressing opinions on the Beecher-Tilton trial, Thoreau, Henry David, Henry David Thoreau writings and other material, circa Also present is a brief autograph letter signed by Thoreau at Concord, ?

July 26 to William H. Tracy at Lynn, Massachusetts. Thackeray, William Makepeace, Collection of William Makepeace Thackeray materials, Appleton and Co. Gates and Morange designs, ca. Gates and Edward A. Morange and was located in New York City. Both men studied at the School of Fine Arts in St. Louis, Missouri. Although Gates and Morange had worked together since , the partnership's first Broadway credit was Straight from the heart by Sutton Vane and Arthur Shirley The studio designed scenery for more than 50 productions over four decades, additionally painting and supplying countless others.

Clients included Liebler Co. Designers included Thomas Benrimo, William E. Edward Morange died on May 20, in Torrington, Connecticut after a long illness at the age of Original set designs, curtain designs, drops, and olio designs, mostly color, produced by the Gates and Morange studio over four decades for theatrical productions and for businesses, trade shows, and several exhibitions. Although most of the designs are undated, the bulk of the collection appears to date from the s. Among the more than 75 productions included are The daughter of heaven by Pierre Loti ca.