Tales from Under Grounds III: Biblical Art and The Architecture of Monticello

Posted on January 7, 2016 by

This is the second in a series of three posts, spotlighting the mini-exhibitions of students from USEM 1580: Researching History, Fall 2015.

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Carolyn Ours, Second-Year Student

Carolyn Ours. Photograph by Sanjay Suchak, November 17, 2015.

“He has made everything beautiful in its time”: Biblical Art and Typography Through the Ages”

This collection of Bibles and Bible fragments spans the time frame from the 12^th century to the 21^st in an attempt to examine the evolution in graphical and typographical interpretations of the world’s bestselling book. While ample commercial copies are available for sale, this fact has not led to the complete disappearance of rare and artistic interpretations that are consistent with the painstaking early editions of the text. Certain elements persist throughout time, specifically colored rubric text and initial letters. Additionally, most Bibles remain printed in two columns to conserve space and make the layout more conducive to the printing of poetry.

Images can have a profound effect on one’s understanding of the Bible by enabling the reader to create concrete mental images and aiding in the conceptualization of abstract concepts. On the other hand, the absence of images allows the reader to formulate their own understanding in accordance with their worldview. Evolving technology has allowed artists to promote understanding of the text in an ever-changing media landscape.

“The Hieroglyphick Bible: or Select passages in the Old and New Testaments, represented with emblematical figures, for the amusement of youth: designed chiefly to familiarize tender age, in a pleasing and diverting manner with early ideas of the Holy Scriptures. To which are subjoined, a short account of the lives of the evangelists, and other pieces.” 4th Ed. Hartford: Silas Andrus, 1825. (BS560 .A3 1825). Gift of Mrs. René Müller
In his “Hieroglyphick Bible,” published in 1825, Silas Andrus introduces the nation’s youth to both reading and Scripture by replacing words with detailed images—a technique called rebus. The almost five hundred representations were carved by hand, and display a range of topics ranging from the abstract (God, prosperity, and death) to the concrete (men, children, and the Crucifix). Earlier copies originated in England before the popular style made its way to the United States. Andrus’ work contains selections from both Testaments, with decorative border work and footnote-style text indicating the meaning of each image in context. (Image by Penny White)

Image of Jesus and child from The Holy Bible: containing all the books of the Old and New Testaments. North Hatfield, Mass: Pennyroyal Caxton Press, 1999. (BS185 1999 .N67) The Pennyroyal Caxton Bible, published in 1999, is the first fully illustrated Bible in almost a century. Artist Barry Moser worked full time over the course of three-and-a-half years to hand carve the 233 incredibly lifelike and distinct images, working mostly from live models and creating an everyman visualization of the text, particularly unnerving in its realistic depiction of malicious figures, including Satan. His inspiration for Jesus, a chef at a local restaurant, is a significant variation from previous hyper-Anglicized depictions of Christ. The book maintains long-standing traditions in printing red rubrics of the words “God”, “Christ”, and “Amen” at the beginning and end of each Testament. The Bible maintains the two column tradition, fitting images and text into a consistent space throughout both volumes. (Image by Penny White)

“Jesus Rabboni” from “The Holy Bible: containing all the books of the Old and New Testaments.” North Hatfield, Mass: Pennyroyal Caxton Press, 1999. (BS185 1999 .N67)
The Pennyroyal Caxton Bible, published in 1999, is the first fully illustrated Bible in almost a century. Artist Barry Moser worked full time over the course of three-and-a-half years to hand carve the 233 incredibly lifelike and distinct images, working mostly from live models and creating an everyman visualization of the text, particularly unnerving in its realistic depiction of malicious figures, including Satan. His inspiration for Jesus, a chef at a local restaurant, is a significant variation from previous hyper-Anglicized depictions of Christ. The book maintains long-standing traditions in printing red rubrics of the words “God”, “Christ”, and “Amen” at the beginning and end of each Testament. The Bible maintains the two column tradition, fitting images and text into a consistent space throughout both volumes. (Image by Penny White)

“Holy Bible.” London: MACK: AMC, 2013. (N7433.4 .B77 H65 2013)
Purchased from the Agelasto Family Library Fund, 2013/2014
While its outer appearance is no more remarkable than a Bible from a hotel nightstand, Adam Broomberg and Oliver Chanarin’s Holy Bible pushes the envelope in graphical interpretations of the sacred text. Influenced by the Philosophy conveyed in Israeli scholar Adi Ophir’s “Divine Violence”, the pair selected images from the London Archive of Modern Conflict to impose over the standard printed text. They use red underlining to highlight specific phrases that correlate to the images, forgoing captions and instead permitting the reader to draw their own conclusions. Images of war, destruction, hatred, sexuality, nature, and death juxtapose the sanctity of the book with its frequently violent and destructive themes, emphasizing Ophir’s argument that God is manifested in the modern world through government and catastrophe. (Photograph by Sanjay Suchak)

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Tallulah Tepper, First-Year Student

Tallulah Tepper. Photograph by Sanjay Suchak, November 17, 2015.

The Architecture of Monticello

Thomas Jefferson’s estate, Monticello, is a historical site with much architectural significance. Known widely as one of Jefferson’s greatest accomplishments, Monticello, completed in the early 1800s takes inspiration from European buildings. Additionally, Jefferson’s architecture inspired other buildings across the nation, and similar architecture can be found at the University of Virginia.

Monticello and Jefferson go hand in hand. As Thomas Jefferson once said, “architecture is my delight!” The estate allows one to truly understand Jefferson, his attention to excellence and detail, and his love of culture and worldliness.

Overall, this exhibit allows insight into how Jefferson thought, planned, and designed, and proves where ideas from Monticello came from and how and why Monticello is still so significant today.

Gibbs, James. “A Book of Architecture: Containing Designs of Buildings and Ornaments.” London: S.n., 1728. (NA2620.G5 1728). Acquired from Architecture laboratory fee fund.
Thomas Jefferson had inspiration from multiple European influences, James Gibbs being one of them. In this house-plan, one can draw clear correlations between the architecture of Monticello and Gibbs’ drawing. Perhaps the lesser known inspiration of Jefferson, Gibbs drew plans for houses and churches alike. Pictured here is a house upon an estate. Jefferson was a great fan of European architecture, traveling throughout Europe, especially France and London, finding ideas for his Monticello. (Image by Penny White)

Jefferson, Thomas. Early Sketch Of Monticello. 1769. MSS 5385-ae). Thomas Jefferson Foundation
This sketch of Monticello was drawn by Thomas Jefferson himself circa 1769, before the actual creation of the Estate. This was Jefferson’s first sketch, and while it does clearly resemble Monticello today, the building was designed and redesigned multiple times before its completion in the early 1800s. Mr. Jefferson’s attention to detail even in an early sketch and clear vision with European influences provides insight into what Jefferson was aspiring toward as Monticello was constructed. (Photograph by Sanjay Suchak)

Radevsky, Anton, and Pavel Popov. “Architecture Pop-up Book.” New York, NY: Universe, 2004. (NA202 .R24 2004). Minor Fund, 2004/2005.
This pop up book contains many three dimensional replicas of famous architectural sites. On the page shown, a pop up Palladio and a pop up Monticello are included. Setting the three dimensional models next to each other, although small in scale, one can see the similarities between the two. It is clear that Jefferson’s Monticello took inspiration from Palladio, and the model also provides insight into the differences between the two. Overall, this small but accurate 3-D model allows one to experience Monticello as more than just a picture. That which does not appear simply on the page quite literally jumps off of it to show a more detailed artistic description of the building, dimensions, and shape of Monticello. (Photograph by Sanjay Suchak)

Tales from Under Grounds III: Circuses and Light

Posted on December 3, 2015 by

This is the first in a series of three posts, spotlighting the mini-exhibitions of students from USEM 1580: Researching History, Fall 2015.

This semester marks the third time I have taught the University Seminar course Researching History. The course gives first- and second-year students the opportunity to immerse themselves in primary source research. During the class, my students had to navigate through the rich array of research materials held in the Albert and Shirley Small Special Collections Library and share what they learned in one-on-one sessions with their friends and family. Also, they each interviewed an author, who had used Special Collections materials to write his or her book. In their final projects, the students employed all of the skills that they had learned in the class to curate and present mini-exhibitions at their outreach program, Tales from Under Grounds III. U.Va’s new Provost Thomas C. Katsouleas even stopped by to see their impressive work. Students created their mini-exhibitions by illustrating a particular story with only seven special collections items of varying formats.

For those who could not make it to Tales from Under Grounds III, I present to you the second best thing: Tales from Under Grounds III in its abridged version as captured in each student’s own words.

Note: only three selections per student are shown.

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Mary Grace Milam, First-Year Student

Photograph of Mary Grace Milam by Sanjay Suchak, November 17, 2015.

Barnum’s Big Top

The Barnum and Bailey Circus is one of the most famous circuses in history. It’s proprietor, Phineas Taylor Barnum initially created a museum holding the world’s first aquarium and featured the world’s human oddities and his famous hoaxes. He later contracted with James Anthony Bailey to create the famous traveling circus.

Some of the most notable attractions were Tom Thumb, Chang and Eng, the Siamese Twins, and Jumbo the Elephant. Most of these acts are no longer a part of any circus routine. Slavery and racism were still prevalent in the 19^th century, which shaped how the public accepted these acts. Barnum’s human acts were marketed as “freaks,” and exploited them for profit. However the success of the acts allowed some of the performers to end their circus careers quite wealthy. Barnum wrote, “Unless a man enters upon the vocation intended for him by nature, and best suited to his peculiar genius, he cannot succeed.” Was circus employment the designated vocation for these people? The acts were very lucrative for some performers, yet at the same time exploitative.

Barnum, P. T, and Sarah J Burke. P.T. Barnum’s Circus, Museum and Menagerie. New York: White & Allen, 1888. (PZ10.3 .B266 Ci 1888). Gift of Mr. & Mrs. W.B. Murphy
This children’s book, written by P.T. Barnum, takes the reader on a tour of P.T. Barnum’s Circus and Menagerie. Some of the famous oddities include General Tom Thumb, the “Skye Terrier Family,” and the White Elephant. (Photograph by Sanjay Suchak, November 17, 2015)

Carte de visite of Tom Thumb from the Photograph Album of Cullen and Graham Family. (MSS 14198).
Here is an image of Tom Thumb, a dwarf or little person, who was a very popular act in Barnum’s circus. Tom Thumb, originally Charles Stratton, was hired as a young boy to the circus. During his act, Tom sang songs or dressed up like characters such as cupid or Napoleon Bonaparte. After his circus career Tom married a woman who was a dwarf, and they lived quite comfortably. (Image by Petrina Jackson, December 3, 2015)

Siamese Twins for … Day Only. New York: J. M. Elliott, Printer, n.d. (Broadside 870).
This advertisement is for the famous Siamese twins Chang and Eng. They were a part of Barnum’s museum for a short six weeks. They exhibited themselves throughout much of their early life and were quite successful throughout the nineteenth century. In their later years, they married and settled down in North Carolina on a plantation they owned. (Image by Petrina Jackson, December 3, 2015)

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Joseph Tran, First-Year Student

Photograph of Joseph Tran by Sanjay Suchak (November 17, 2015)

Consumer Use of Artificial Light circa 20^th Century

This exhibition is largely based on the use of artificially created light from the late 1800’s and early 1900’s. This time period was highlighted by the increasing use of light bulbs in virtually every setting to illuminate the darkness. The inspiration that founded this collection can be seen as the greatest light bulb of our time, the Sun.

These items are not contemporary, but they are rather broad in the sense that light is a fundamental need that will always be of use to all people. They will portray the creative manipulation of light to change human perception.

Message from the President of the United States, accompanied with a report upon the subject of the light-houses ordered to be built by the act of third of March, 1821 (A 1821 .U56b no.5)
From the executive papers with U.S. Pres. Monroe. Message… to both houses of Congress… 1st session, 17th Congress, Dec. 5, 1821
This report outlines the necessity of lighthouses to be built nearby to the shores by President Monroe. These would illuminate the night sky and allow sailors and captains to be able to navigate toward land with relative ease. In 1821, these lighthouses would have used a flame lamp of oils that slowly burned over the course of the night, and they were unlike modern lighthouses in that they did not revolve around with mirrors and lenses. (Image by Petrina Jackson, December 3, 2015)

Jackson Davis with camera and an unidentified man (MSS3072, 3072a) Jackson Davis Collection of African American Photographs A photograph taken in 1915 illustrates the use of a camera widely available to the general consumer, which was most likely a Kodak. Cameras at the time would have already started using film and shutters to capture an image. Film is able to retain an image because chemically, it is made with a substance that reacts when struck with a light, namely a flash. The camera revolutionized the way events and people are remembered from a sketch or drawing to a photograph capturing every detail.

Jackson Davis with camera and an unidentified man, 1915. (MSS3072, 3072a). Jackson Davis Collection of African American Photographs
This photograph illustrates the use of a camera widely available to the general consumer, which was most likely a Kodak. Cameras at the time would have already started using film and shutters to capture an image. Film is able to retain an image because, chemically, it is made with a substance that reacts when struck with a light, namely a flash. The camera revolutionized the way events and people are remembered from a sketch or drawing to a photograph capturing every detail. (Image by Digital Production Services)

Reed, Justin James. 2013. Brooklyn, N.Y.: Horses Think Press, 2012. (N7433.4.R424 T8 2012). Purchased from the Agelasto Family Library Fund, 2012/2013
This interesting piece by Justin James Reed is a bit deceptive as its pages seem to be completely blank to the naked eye. With the aid of an ultraviolet flashlight, the true images begin to appear visible. This self-published book includes many abstract images, from forest scenery to statues of people. This item fits in this exhibition because it shows how creative manipulation of light can be used artistically to produce interesting effects. (Photograph by Sanjay Suchak, November 17, 2015)

Tales from Under Grounds II: War

Posted on June 11, 2015 by

This is the final of four posts, spotlighting the mini-exhibitions of students from USEM 1570: Researching History.

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Turner Labrie, First-Year Student

Photograph of Turner Labrie by Sanjay Suchak, November 18, 2014.

Virginia and The Spanish American War

In February of 1895, the Spanish-controlled island of Cuba erupted in rebellion. Over the course of their fighting with the rebels, the Spanish employed increasingly brutal repression tactics. These brutal tactics were further sensationalized by American newspapers, a method that is now better known as “yellow journalism.” In response to the growing unrest in Cuba and domestic pressures at home, the United States government sent naval crafts to protect US citizens residing in Cuba.

The Spanish-American War began in April of 1898, prompted by the inexplicable explosion in the USS Maine, which was one of the ships based outside of Havana protecting U.S. interests. After the explosion, fighting erupted between the United States and Spain in various parts of the world, including Puerto Rico, Spain and the Philippines. Ultimately, the United States won the war, made Puerto Rico and the Philippines their territories, and freed Cuba from Spanish control.

This exhibition documents Virginia’s involvement in the Spanish American War.

Soldier’s Memorial, Spanish American War of 1898: Suffolk Light Infantry. Company G. Fourth Regiment, Virginia Volunteer Infantry … Organized at Suffolk, Va., June 22, 1892 mustered into the United States Service at Richmond, Va., May 23, 1898. Washington, D.C.: Fuller Bros., 1898. (Poster 1898 .S73)
This poster portrays the Suffolk Light Infantry in combat, and in the middle, it lists members of the Company G, including officers. Virginia was expected to contribute heavily to the war, but outside of the involvement of a couple regiments, it served more of an ancillary role. Many supplies were shipped through Virginia’s ports, and camps were established throughout the state to train soldiers for combat. That being said, fourteen of the deceased sailors from the explosion of the USS Maine were originally from Virginia.

Capt. Edgar de Duphane. Wanted. 100 Volunteer Crack Shots, for Immediate Service. New Market, VA: Henkel & Co., Printers, 1898. (Broadside 1898 .D84)
Captain Edgar de Duphane posted this message in New Market, Virginia to encourage proficient shooters to join the U.S. Army at the outbreak of the Spanish American War. The shooters were then sent to various camps throughout the country for integration into the army. From there, they fought against Spanish forces.

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Max Novick, First-Year Student

Max Novick presents a WWI era scrapbook, November 18, 2014. (Photograph by Sanjay Suchak)

Propaganda and Sentiments of World War I

While World War I can be at times dwarfed by the magnitude of the Second World War, many of the same feelings of fear that the Allies expressed towards the German enemy still existed. Through this mélange of emotions, the use of propaganda became commonplace to strike fear in the heart of the enemy and to motivate the allied nations. Though propaganda can be quite coarse and grating, this mini-exhibition makes an attempt to display a few types of this curious art form.

Through the use of five dissimilar items, this exhibit moves in a somewhat linear fashion, from crass to serious, in order to capture the very essence of the emotions that were shared in the Allies battle against the Imperial forces. Nevertheless, Novelist James Dickey’s sentiments to a major donor to Virginia of this era caps the exhibition in its ability to look beyond the pairing of one side versus another and at the real issue of humans versus humans.

Falser, M. “Pour le suprême effort.” World War I posters 1914-1918. (MSS 5023-b) Robertson Gift Dec. 1969
Produced in 1918, artist M. Falser shows a darkly colored image of a French soldier in fierce combat with an eagle. This black eagle as well as the helmet known as a Pickelhaube are signs of the German Imperial Army. The violent force with which the French soldier maims this Imperial enemy seeks to inspire hope and courage within the nation of interest and to deflate the image of the enemy.

Dickey, James. “For Matt Bruccoli’s Father.” Letter. World War I Memorabilia. (MSS 10875-s) Bruccoli Great War Collection. Gift of Matthew J. Bruccoli, July, 1997 Famous American novelist, James Dickey, through this extremely personal letter, offers a writer’s input on the war. This letter looks beyond the simplicities of propaganda and talk about war’s more virulent nature. This note does not degrade the enemy in any way, but rather looks at the matter from the perspective of a human being to express the atrocities and horrors that war imposes on mankind.

By arrangement with the Heirs of James Dickey and their agents Raines & Raines. James Dickey. Letter for Matt Broccoli’s Father, July 1997. (MSS 10875-s) Bruccoli Great War Collection. Gift of Matthew J. Bruccoli.
Famous American novelist, James Dickey, through this extremely personal letter, offers a writer’s input on the war. This letter looks beyond the simplicities of propaganda and talks about war’s more virulent nature. This note does not degrade the enemy in any way, but rather looks at the matter from the perspective of a human being to express the atrocities and horrors that war imposes on mankind.

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Emily Templin, First-Year Student

Photograph of Emily Templin by Sanjay Suchak, November 18, 2014.

World War II Propaganda in America

America officially entered World War II after Japan’s attack on Pearl Harbor on December 7, 1941. While American soldiers were off fighting for the Allied cause, other forces worked to keep the home front involved and in support of the war. The Office of War Information (OWI), created by Franklin Delano Roosevelt in 1942, was designed to help mobilize domestic support and keep citizens informed. The OWI produced propaganda, such as radio broadcasts, newspaper articles, posters, and photographs that served as a direct appeal to citizens at home to support the war.

Much of the propaganda tended to focus on how everyone could “play their part” in the war effort, including buying war bonds, rationing, and conserving scrap metal and rubber. Ultimately, propaganda helped to shape the culture of the American home front, sparking a unified effort to help fight the war by any means possible.

1942 War Bonds Poster. “We Shall Win Or We Shall Die”: Double Your Shares In the U.S.A. … Buy War Bonds and Stamps Today!. Washington, D.C.: U.S. Government Printing Office, 1942. (Poster 1942 .W4)
This 1942 propaganda poster advertises the sale of war bonds as a way for people at home to contribute to the war effort. Since World War II was a “total war,” patriotic propaganda was used to garner support for the war on the American home front. The poster’s language serves to unite soldiers with civilians back home in a combined revenue-raising effort that both financially and morally supports the war.

United States of America. Four Freedoms Booklet. Louis G. Cowan World War II Propaganda Collection, 1941-1946. (MSS 11569)
Based on Franklin D. Roosevelt’s Four Freedoms speech, this booklet elaborates how the freedoms of speech and worship and the freedoms from want and fear operated in America. The booklet contrasts pictures of America’s happy children, education systems, and plentiful harvests with pictures of the violence, government restrictions, and food lines in Axis countries in order to promote the Allied war efforts.

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Timothy Rodriguez, First-Year Student

Timothy Rodriguez talks to a attendee about his exhibition, November 18, 2014. (Photograph by Sanjay Suchak)

Cold War Propaganda in the United States and the Soviet Union

The Cold War, which started in 1946 after the end of the Second World War, produced a significant amount of propaganda on both sides. In the United States, this propaganda was focused against the nature of the communist regimes in Soviet Bloc countries and on the ideals of communism. For the Soviets, the propaganda was more focused on convincing citizens that their system of governance and economic structuring was superior to capitalist countries like the United States.

This exhibition contains propagandist pictures, literature and broadsides that represent some of the most subtle and blatant propaganda of the Cold War. Sources include both the Soviet and American governments as well as special interest groups with Anti-communist agendas.

Siebel, Fred O. "Eyes on Formosa." Richmond Times Dispatch. 1 Jan. 1950. Original drawing by Fred Seibel. Published in the Richmond Times Dispatch, this cartoon, drawn by Fred Siebel, is a piece of American anti-communist propaganda and political commentary. The depiction of communism as a gigantic octopus, embossed the Soviet Union’s hammer and sickle, is a clear statement of the American perspective of communism as an expansionary threat to the world. The cartoon is intending to convey the intent of the communists specifically in China of taking over the island of Formosa, now known as Taiwan. (still need permission)

Siebel, Fred O. “Eyes on Formosa.” Richmond Times Dispatch. 1 Jan. 1950. Original drawing by Fred Seibel. (MSS 2531)
Published in the Richmond Times Dispatch, this Fred Siebel cartoon is a piece of American anti-communist propaganda and political commentary. The depiction of communism as a gigantic octopus, embossed with the Soviet Union’s hammer and sickle, is a clear statement of the American perspective of communism as an expansionary threat to the world. The cartoon conveys the intent of the communists, specifically in China, to take over the island of Formosa, now known as Taiwan.

Pedigo, Jess L. Yes, Ginger. Communism Is Your Enemy. Tulsa: Christian Crusade Publications, 1970. This booklet was published by the Christian Crusade publication company in 1970. During the Cold War many organizations in the United States, including Christian Crusades, published Anti-Communist literature. This specific booklet is a story directed at children informing them of the supposed evils of communism and as per the title explains why communism is their enemy. This artifact is a prime example of religious, anti-communist propaganda which was prevalent during the cold war era.

Pedigo, Jess L. Yes, Ginger. Communism Is Your Enemy. Tulsa: Christian Crusade Publications, 1970. (HX44 .P42 1972)
During the Cold War, many organizations in the United States, including Christian Crusades, published anti-communist literature. This specific booklet, directed at children, informs them of the supposed evils of communism and as per the title explains why communism is their enemy. This artifact is a prime example of religious, anti-communist propaganda which was prevalent during the cold war era.

Tales From Under Grounds II: Regional History and Mr. Jefferson and His University

Posted on April 20, 2015 by

This is the third in a series of four posts, spotlighting the mini-exhibitions of students from USEM 1570: Researching History.

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Zach Buettner, First-Year Student

Zach Buettner, November 18, 2014. (Photo by Sanjay Suchak)

Photograph of Zach Buettner by Sanjay Suchak, November 18, 2014.

The Early History of Woodberry Forest School

Woodberry Forest School, founded by Robert Stringfellow Walker in 1889, was intended to teach his six sons. Walker began the school by hiring a tutor because he felt that the nearby schooling was inadequate. The school quickly grew to include local kids on nearby farms. The numbers continued to increase, and now there is an average of 100 boys per grade.

Woodberry Forest School is an all-boys boarding school in Woodberry Forest, Virginia, right outside of Orange, Virginia. The school prides itself on creating the “Woodberry boy,” one who is balanced in many facets of life. In addition to rigorous academic work, Woodberry also requires participation in athletic events. In fact, its rivalry with Episcopal High School dates to 1901, making it one of the oldest continuous southern rivalries in football.

Woodberry has an honor code that was created by the students a couple years after the founding of the school. The honor is an important part of the school’s culture even today.

Woodberry Forest, “Catalogue of Woodberry Forest,” (Woodberry Forest, VA: Woodberry Forest School, 1901) (LD7501.W6 W62). Gift of Shelah Kane Scott This catalogue was the main source of information in regards to attending the school in 1901. The catalogue listed the students and the prefects of the current classes. It also laid out the terms necessary to graduate including the classes one should take, the cost of education, and the objects that one needed to bring to school with him.

Woodberry Forest. “Catalogue of Woodberry Forest.” Woodberry Forest, VA: Woodberry Forest School, 1901. This catalogue was the main source of information in regards to attending the school in 1901. The catalogue listed the students and the prefects of the current classes. It also laid out the terms necessary to graduate including the classes one should take, the cost of education, and the objects that one needed to bring to school with him. (LD7501 .W6 W62. Gift of Shelah Kane Scott)

Waring P. Austin, “Woodberry Forest School Scrapbook. 1910-1913, (MSS 15119). Coles Special Collections Fund This scrapbook, complied by Pickney Austin Waring, focuses mainly on sports teams at Woodberry Forest School. It has a collection of photos of different athletic teams and also lists scores, lineups, and posters for games. A notable object in this scrapbook is a hand drawn poster of a Woodberry vs. Yale baseball game.

Waring P. Austin. Woodberry Forest School Scrapbook, 1910-1913. This scrapbook, complied by Pickney Austin Waring, focuses mainly on sports teams at Woodberry Forest School. It has a collection of photos of different athletic teams and also lists scores, lineups, and posters for games. A notable object in this scrapbook is a hand drawn poster of a Woodberry vs. Yale baseball game. (MSS 15119. Coles Special Collections Fund)

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Abby Herz, First-Year Student

Photograph of Abby Herz by Sanjay Suchak, November 18, 2014.

Fielding a Faculty: The Original Faculty of the University of Virginia

In the early 1800’s as Thomas Jefferson looked to fulfill his dreams of creating the University of Virginia, one of the challenges he faced was to recruit a faculty. He needed to find distinguished, intelligent scholars in the fields of ancient languages, modern languages, mathematics, moral philosophy, natural philosophy, chemistry, law, and medicine.

Interestingly enough, Mr. Jefferson assigned a large part of this task to Mr. Francis Walker Gilmer, a close friend of his and the University’s attorney. Francis Gilmer took this request very seriously and travelled all the way to England in 1824, to find some of the brightest people in their fields and bring them to Mr. Jefferson’s University to teach.

Gilmer returned to the United States having found 5 of the 8 first faculty members of the University. He recruited George Blaetterman, Charles G. Bonnycastle, Robley Dunglison, Thomas Hewitt Key and George Long. The other three, John Patton Emmet, John Tayloe Lomax, and George Tucker all came from the United States and were not recruited by Mr. Gilmer.

Thomas Hewitt Key Contract with Francis Walker Gilmer, Attorney for University of Virginia (MSS 10300) This is the official contract between Francis Walker Gilmer, the attorney for the University of Virginia, and Thomas Hewitt Key, the first professor of mathematics at the University. This contract covers Key’s duties as a professor, like the specific subjects he must teach, as well as his salary, which at the time included what was known as a “tuition fee.” Finally the contract goes over Key’s responsibilities as an occupant of Pavilion VI.

Thomas Hewitt Key Contract with Francis Walker Gilmer, Attorney for University of Virginia.
This is the official contract between Francis Walker Gilmer, the attorney for the University of Virginia, and Thomas Hewitt Key, the first professor of mathematics at the University. This contract covers Key’s duties as a professor, the specific subjects he must teach as well as his salary, which included what was known as a “tuition fee.” Finally the contract goes over Key’s responsibilities as an occupant of Pavilion VI. (MSS 10300)

Regulations of the University, in the Hand of and Signed by Thomas Jefferson, Rector, 3-7 October 1825 (MSS 10300) This manuscript, written by Thomas Jefferson, defines all of the rules of the University of Virginia. In these rules, Mr. Jefferson places a lot of power in the hands of the Professors and charges them “with the execution of the laws of the University.” He gives them the responsibility of disciplining students for actions committed outside of the classroom in places like the dormitories.

Regulations of the University, in the Hand of and Signed by Thomas Jefferson, Rector, 3-7 October 1825. This manuscript, written by Thomas Jefferson, defines all of the rules of the University of Virginia. In these rules, Jefferson places a lot of power in the hands of the professors and charges them “with the execution of the laws of the University.” He gives them the responsibility of disciplining students for actions committed outside of the classroom in places like the dormitories. (MSS 10300)

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Cassidy Faught, First-Year Student

Cassidy Faught discusses her exhibition with visitors, November 18, 2014. (Photograph by Sanjay Suchak)

Equality on Grounds: The Struggle for Desegregation at the University of Virginia

The 1896 Plessy v. Ferguson United States Supreme Court case used the “separate but equal” doctrine to uphold the constitutionality of state laws requiring racial segregation in public facilities. This “separate but equal” doctrine remained the standard in United States law until it was overturned by the Brown v. Board of Education Supreme Court decision in 1954. Until the 1950’s many public colleges, including the University of Virginia, refused the admission of African Americans to their schools on grounds that it was contrary to the long established and fixed policy of their states.

This display showcases the correspondence between the first African American applicant and the rector at the University of Virginia, a letter regarding segregation by the first African American to attend the University, a photograph of the first African American graduate, and “Notes on Negroes in U of VA” from the Director of Information Services in 1955 and 1956. These items are used to display the initial rejection, struggle, and eventual triumph of African Americans integrating into the University of Virginia.

Alice C. Jackson Letter to Frederick W. Scott, 28 September 1935. (RG-2/1/2.491) University of Virginia, Office of the President This is a handwritten letter from Alice C. Jackson to Dr. Frederick W. Scott, the Rector and Board of Visitors at the University of Virginia. Ms. Jackson was the first African American to apply to the University and was seeking a master’s degree in French. In her spirited letter, Ms. Jackson writes an appeal to the University in search of a full explanation as to why her application was rejected.

Alice C. Jackson Letter to Rector Frederick W. Scott, 28 September 1935. This is a handwritten letter from Alice C. Jackson to Dr. Frederick W. Scott, the Rector, and the Board of Visitors at the University of Virginia. Ms. Jackson was the first African American to apply to the University and was seeking a master’s degree in French. In her spirited letter, Ms. Jackson writes an appeal to the University in search of a full explanation as to why her application was rejected. (RG-2/1/2.491. University of Virginia Archives)

Photograph of UVa Finals, Academic procession. 15 June 1953. (RG-30/1/10.011) University of Virginia Visual History Collection Here, a photograph of Walter Nathaniel Ridley, the first African American to graduate from the University of Virginia, is captured. Ridley (center) smiles for a photograph as he walks the Lawn at the Academic Procession of the summer of 1953. Ridley received a Ph.D. in education.

Photograph of U.Va. Finals, Academic Procession. 15 June 1953. A photograph of Walter Nathaniel Ridley, the first African American to graduate from the University of Virginia, is captured. Ridley (center) smiles for a photograph as he walks the Lawn at the Academic Procession of the summer of 1953. Ridley received a Ph.D. in education. (RG-30/1/10.011. University of Virginia Visual History Collection)

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Ford Slater, First-Year Student

Ford Slater explains his exhibition to onlookers, November 18, 2014. (Photograph by Sanjay Suchak)

A History of Baseball at The University of Virginia

Baseball started at the University of Virginia in the late nineteenth century and has developed into one the best programs in the country. After over 100 years, Virginia has worked its way up to a nationally recognized athletic powerhouse in most sports, including baseball. The items in this exhibit include pictures, artifacts, and newspaper clippings that will show the viewer facets of the University’s baseball past.

Photograph of University of Virginia Baseball Team, 1890. This is a photograph of the 1890 University of Virginia Baseball, which includes what appears to be nine players and two coaches. The border frame around the picture once included all of the names and hometowns of the players, but has worn away with time. Some things to notice are the old fashioned uniforms with the collars and pockets on their shirts, the short brimmed hats, and the equipment. The gloves have no web, but are more similar to an oven mitt. Also peculiar, the mustache on the player on the far left. Most universities required short hair and clean shave until mid-twentieth century. (MSS 9767. University of Virginia Archives)

Virginia Baseball Game Scorecard, 1949. Featured is a hand-completed scorecard from a 1949 game between Virginia and an unknown opponent. Virginia was victorious, scoring two runs to none and outhit its opponent 5 to 4. The historical side of this piece apart from being in such good condition is the amount of advertising it contains. A total of nineteen different businesses paid to have their name and number on a scorecard for a baseball game. (RG-27/13/1.091. University of Virginia Archives)

Tales from Under Grounds II: Pastimes, Play Time, Illustration, and Literature

Posted on March 6, 2015 by

This is the second in a series of four blog posts, spotlighting the mini-exhibitions of fall semester 2014 students from USEM 1570: Researching History. The following is the abridged version of the students’ final projects, featured at their outreach program, Tales from Under Grounds II.

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Regina Chung, First-Year Student

Photograph of Regina Chung by Sanjay Suchak, November 18, 2014.

Monticello Music

Thomas Jefferson declared that music “is the favorite passion of my soul, and fortune has cast my lot in a country where it is in a state of deplorable barbarism.” Jefferson practiced the violin three hours a day and would later share his love for music with his wife, Martha, and then his daughters. He would not only spread this passion among his family, but also as a political tool that would lead to wide popularity with his lively campaign songs.

Using scrapbooks, notebooks, music programs, political campaign songs, and newsclippings, this exhibition displays the passion Jefferson held for music in his personal and work life.

This scrapbook of 18th century songs, ballads, and cantatas were collected by Thomas Jefferson and his family. There are 95 titles in this volume from Jefferson's distinct music collection.

Thomas Jefferson’s Scrapbook of Sheet Music. This scrapbook of 18th century songs, ballads, and cantatas were collected by Thomas Jefferson and his family. There are 95 titles in this volume from Jefferson’s distinct music collection. (A 1723-90 .J4 no. 1. Tracy W. McGregor Library of American History)

Newsclipping of a letter written by Thomas Jefferson to his daughter Martha “Patsy” Jefferson, n.d. After Jefferson’s wife’s death, he strongly enforced music upon his eldest daughter, Martha (“Patsy”). In this reprinted letter, he encourages her to continue to learn new music. (MSS 6696. Thomas Jefferson Foundation)

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Lily Davis

Photograph of Lily Davis by Sanjay Suchak, November 18, 2014.

Nathaniel Hawthorne

Nathaniel Hawthorne (1804-1864) was a 19^th-century American author. He is known as a “romancer,” examining the inner nature of man, and as a “realist,” using literature to articulate the flaws in American society. Many of his stories have a common theme of probing human nature and criticizing culture. In his books, he examines and scrutinizes Puritan society, which points back to his long line of Puritan ancestors.

The photograph of Hawthorne with his signature across the bottom was taken around the time he wrote The Scarlet Letter and The House of Seven Gables, pieces of literature that are still read and loved today. The Scarlet Letter, probably Hawthorne’s most well-known book, provides insight to his Puritan background. The House of Seven Gables was published shortly after The Scarlet Letter and is also set in 19^th century New England. Centuries later, Hawthorne is still considered a great American author.

Hawthorne, Nathaniel. The Scarlet Letter. Boston: Ticknor and Fields, 1850. The Scarlet Letter, published in 1850, tells the story of Hester Prynne and her illegitimate child Pearl in Puritan society. This novel was inspired by Hawthorne’s strict Puritan background. Nathaniel Hawthorne’s great grandfather, John Hathorne (1641-1717), lived in Salem, Massachusetts and was a prominent judge in the Salem witch trials. Nathaniel Hawthorne eventually added the “w” in his true family name of “Hathorne” (changing it to “Hawthorne”) to distinguish himself from his ancestors. In reading the Scarlet Letter, it is obvious that his writing points to his background.(A 1850 H39 S3. Tracy W. McGregor Library of American History)

Signed Carte de Visite of Nathaniel Hawthorne, ca. 1850s. (MSS 6249. Clifton Waller Barrett Library of American Literature)

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Mary Elder, First-Year Student

Mary Elder discusses her exhibition with visitors, November 18, 2014. (Photograph by Sanjay Suchak)

Games of American Children in the Victorian Era

The Victorian Era is viewed as a time of rapid development and change, and it is easy to overlook the role of children in this era. Many of people’s ideas come from films such as A Christmas Carol, and characters such as the grandmother of American Girl’s Samantha, but much can be learned by looking at the toys and games that children enjoyed during this time.

Games and stories can often reveal the values of the time they were played, and Victorian Era games frequently had educational value, or intended to teach moral lessons. Other times, they were simply to keep children occupied quietly. Outdoor and recreational activities were also encouraged to allow children to run and play, but were sometimes limited to boys as many still held the belief that girls should be quiet and dainty.

These games can tell a story as they give us a glimpse into the lives of the younger generation in the late 19^th-century. Many of the games and concepts might be familiar to people today and can show the continuity in children’s attitudes toward fun and perpetuity of childhood pleasures.

Selchow & Righter, New York, Manufacturers and Wholesale Dealers in Games and Toys, 1894-1895. This trade catalog for toys and games provides images, cost, and descriptions of the games. Frequently sold by dozens, costs vary greatly, but many are in the $7-$10 range. Many items, such as the church and blocks, have religious associations, while others, such as the Spelling Boards and reading cabinet, are educational. Many items, such as a ring toss, dolls, toy pianos, and air rifles, would be familiar to children today. (TS199 .A5 T62 no.16. Albert H. Small American Trade Catalogs Collection)

Ruhig Blut. New York: Dr. Richter’s Publishing House, 1899. This puzzle, whose name in English is “Be Quiet,” has instructions in German, English, and several other language. It resembles what is now known by many as a Tangram, and the small shaped masonry pieces could be combined in a variety of ways to create pictures. (Lindemann 05868. The McGehee Miniature Book Collection)

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Grace Kim, First-Year Student

Grace Kim talks to Rare Book Cataloger Gayle Cooper about her exhibition, November 18, 2014. (Photograph by Sanjay Suchak)

John Tenniel: An Illustrator with a Punch

Originally, John Tenniel was a classic artist who created oil paintings for the Royal Academy. Dissatisfied, he left to join the illustration world. In 1850, he found a position at the British political magazine Punch, where he would work for fifty years. Citizens soon recognized his drawings, and his work at the magazine would soon allow for other illustrating opportunities. He drew for Thomas Moore’s oriental romance novel, Lalla Rookh, which was considered to contain his best illustrations. He was also the illustrator for The Arabian Nights edition, created by the engravers the Dalziel brothers. Tenniel would constantly go to the Dalziel brothers for the engraving of his drawings.

Tenniel preferred not to use real life models to help him form his illustrations. Instead, he claimed that he could draw anything through the use of memory. This may have helped him when he worked with Lewis Carroll, otherwise known as Charles Lutwidge Dodgson, to create Alice’s fantastical world.

In 1893, John Tenniel became knighted for his work in political cartoons and illustrations. After he retired from Punch about a decade later, he would not take on any other projects.

Lewis Carroll. Alice’s Adventures in Wonderland. Illus. by John Tenniel. New York: D. Appleton and Company, 1866. Most well known for his work with Lewis Carroll, Tenniel includes forty-two of his illustrations in this first American edition. Originally, Carroll wanted to draw the illustrations himself; however, a friend, Thomas Combe, suggested a professional illustrator instead. Lewis Carroll wanted no one other than John Tenniel. His work at Punch led the surreal author to become a big fan. In this particular book, the color marking comes from the original owner, Alice Huff Johnston. (PR4611 .A7 1866. Gift of Clement Dixon Johnston)

Note from John Tenniel to Ponny, ca. 1869. Sir John Tenniel reflects on his own reputation in a note to his friend, Ponny, stating, “You say my name is as good as a bank note – I wish you could prove it.” (MSS 6693-a. Gift of Clement Dixon Johnston)

Tales from Under Grounds II: Plato, Darwin, Early Medical Practices, and Peaceful Protests

Posted on January 31, 2015 by

This is the first in a series of four posts, spotlighting the mini-exhibitions of students from USEM 1570: Researching History, Fall 2014.

Last semester, I taught USEM 1570: Researching History for the second time. The course gives first-year students the opportunity to learn about and immerse themselves in primary source research. For most undergraduates, archival research is scary stuff. However, my students bravely navigated through the rich array of research materials held in the Albert and Shirley Small Special Collections Library, sharing what they learned with friends, family, and the general public. Sharing what they learned was most evident in their final assignment, curating a mini-exhibition. The mini-exhibition had to illustrate a particular story with only five items of varying formats. After creating the exhibitions, these budding researchers presented them at their outreach program, Tales from Under Grounds II.

For those who could not make it, I present to you the second best thing: Tales from Under Grounds II in its abridged version as captured in each student’s own words.

Note: only two selections per student are shown.

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Maryknoll Hemingway, First-Year Student

Photograph of Maryknoll Hemingway by Sanjay Suchak, November 18, 2014.

Plato at U.Va.

Known for his philosophies on political science, the soul, and love, the ancient Greek Plato is one of the most infamous men of world history. At the Albert and Shirley Small Collections Library at the University of Virginia, there is material on the works and reviews of Plato and his ideas and theories. Of the works presented here are translations of two works of Plato, a letter appraisal, and a review by Thomas Jefferson.

In this collection, reviewers negatively and positively respond to Plato’s philosophies, most suggesting, such as Author Samuel Goodrich, that Plato was at the “highest point, in the search after divine knowledge which has ever been attained, without the direct aid of inspiration.” In contrast, Jefferson, stated that “[Plato’s] dialogues are libels on Socrates.” Accompanied by two compositions and a brief biography, this exhibition shows Plato’s works and reviews of his philosophies as one of the world’s most famous men of all time.

Jefferson, Thomas. Jefferson on Plato. Roanoke, Virginia: Stone Printing & Manufacturing Company, 1941. (B393 .J4 1941) Thomas Jefferson wrote a review on Plato’s infamous The Republic of Plato and, it is apparent that he was not particularly impressed by the writings of Plato. This brief and concise five page review provides Jefferson’s raw opinion of Plato’s ideals. Similar pamphlets were printed, totaling 600 copies. This one in particular was privately printed for John Wyllie, early curator of rare books and manuscripts at the University of Virginia.

Jefferson, Thomas. Jefferson on Plato. Roanoke, Virginia: Stone Printing & Manufacturing Company, 1941. Thomas Jefferson wrote a review on Plato’s “The Republic of Plato,” and it is apparent that he was not particularly impressed by the writings of Plato. This brief and concise five page review provides Jefferson’s raw opinion of Plato’s ideals. Similar pamphlets were printed, totaling 600 copies. This one in particular was privately printed for John Wyllie, early curator of rare books and manuscripts at the University of Virginia. (B393 .J4 1941)

Baron Alfred Tennyson, Letter to Benjamin Jowett, May 4, 1858 (MSS 10499) This is a handwritten letter from Alfred Tennyson to Benjamin Jowett, featuring a picture of Tennyson. In this letter, Tennyson praises the works of Plato and thanks his correspondence, Jowett, for the copies and recommendation of the books. In Tennyson’s opinion, he is “unworthy” of reading Plato’s pieces, but asks Jowett for page numbers as references to key points, and possible favorite sections of the books.

Baron Alfred Tennyson, Letter to Benjamin Jowett, May 4, 1858.
This is a handwritten letter from Alfred Tennyson to Benjamin Jowett, featuring a picture of Tennyson. In this letter, Tennyson praises the works of Plato and thanks Jowett for copies and recommendation of books. In Tennyson’s opinion, he [Tennyson] is “unworthy” of reading Plato’s pieces, but asks Jowett for page numbers as references to key points, and possible favorite sections of the books. (MSS 10499)

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Josh Huttler, First-Year Student

Photograph of Josh Huttler by Sanjay Suchak, November 18, 2014.

Monkey-Man or Genius: The Development of Charles Darwin’s Evolutionist Theories and Public Response

Throughout the nineteenth century, Charles Darwin was one of the principle contributors to the theory of evolution. Following his expeditions on the H.M.S Beagle, Darwin produced one of the most influential and controversial texts of the era: On the Origin of Species by Means of Natural Selection.

In this collection of artifacts, a Conrad Martens watercolor of the H.M.S Beagle and a first edition copy of Darwin’s On the Origin of Species reflect the development of Darwinian evolutionist thought. Further, several cartoons from British periodicals, a magazine describing religious responses, and an obituary released after Darwin’s death illustrate the mixed public reactions to Darwin’s work. Several of these items refer to one of Darwin’s most contentious and publicized ideas— the concept that man and monkey share a common ancestor.

Charles Darwin, On the Origin of Species by Means of Natural Selection, or the Preservation of Favoured Races in the Struggle for Life. London: John Murray, 1859. (QH365 .O2 1859) Gift of Colonel J.R. Fox Published almost twenty years after The Voyage of the Beagle, this first edition copy of Charles Darwin’s On the Origin of Species set the foundation for new evolutionist theory. Amongst other important topics, this text outlines the theories of natural selection and species variation while building on the ideas of his evolutionist predecessors.

Darwin, Charles. “On the Origin of Species by Means of Natural Selection, or the Preservation of Favoured Races in the Struggle for Life.” London: John Murray, 1859.
Published almost twenty years after The Voyage of the Beagle, this first edition copy of Charles Darwin’s “On the Origin of Species” set the foundation for new evolutionist theory. Amongst other important topics, this text outlines the theories of natural selection and species variation while building on the ideas of his evolutionist predecessors. (QH365 .O2 1859. Gift of Colonel J. R. Fox)

Martens, Conrad. Terra Del Fuego: H.M.S. Beagle Under the Land, ca. 1834. (MSS 3314) Paul Victorius Evolution Collection This watercolor of the H.M.S. Beagle reflects the ship landing in Tierra Del Fuego, a South American archipelago. Darwin developed many of his early evolutionist theories during his almost five-year expedition on this ship. Darwin discusses some of his findings from the expedition in his book The Voyage of the Beagle.

Martens, Conrad. Terra Del Fuego: H.M.S. Beagle Under the Land, ca. 1834.
This watercolor of the H.M.S. Beagle reflects the ship landing in Tierra Del Fuego, a South American archipelago. Darwin developed many of his early evolutionist theories during his almost five-year expedition on this ship. Darwin discusses some of his findings from the expedition in his book The Voyage of the Beagle. (MSS 3314. Paul Victorius Evolution Collection)

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Sierra Teate, First-Year Student

Photograph of Sierra Teate discussing her mini-exhibition with library staff, November 18, 2014. (Photograph by Sanjay Suchak)

What Was Medicine Really Like During the Late Nineteenth and Early Twentieth Century in Charlottesville, Virginia?

Everyone knows medicine has come a long way since the late nineteenth and early twentieth century, but just how different were practices and philosophies then? Despite substantial discoveries that had been made hundreds of years before, much more progress needed to be made.

The sources displayed here give a first hand look at how doctors and upcoming doctors in Charlottesville, Virginia viewed their profession as well as how they diagnosed and treated their patients. It is obvious that many of their practices are foreign to us today. For example, now at the University of Virginia, students do not pose for a picture with cadavers. Hospital receipts are printed on very different paper. Some remedies doctors used are definitely frowned upon now. Yet, we still of course have many similarities with this generation of medical professionals. They record their patients’ symptoms, speak at medical events, and vaccinate children. A great deal can be learned about the evolution of medicine from this collection. Beyond being simply fascinating, the history of medicine is important to keep in mind for the future.

Frank Carr's Journal and Commonplace Book, 1810-1838 (MSS 15444) C. Venable Minor Endowment Fund, 2012/2013. This is the personal journal of Frank Carr, which includes a register of vaccinations during May, 1814 and an extensive description of a man’s case of hydrophobia.

Frank Carr’s Journal and Commonplace Book, 1810-1838.
This is the personal journal of Frank Carr, which includes a register of vaccinations during May, 1814 and an extensive description of a man’s case of hydrophobia. (MSS 15444. C. Venable Minor Endowment Fund, 2012/2013)

Photograph of U.Va. Medical Students, The Sixth Club. Facsimile. (RG-30/1/10.011) University of Virginia Visual History Collection This picture taken in 1899 shows University of Virginia medical students posing with cadavers they have been studying.

Photograph of U.Va. Medical Students, The Sixth Club, 1899.
This picture shows University of Virginia medical students posing with cadavers they have been studying. (RG-30/1/10.011. University of Virginia Visual History Collection. Image by University of Virginia Digitization Services)

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Nick Kumleben, First-Year Student

Nick Kumleben discusses his mini-exhibition with visitors, November 18, 2014. (Photograph by Sanjay Suchak)

Peaceful Protest in the 20th Century: from Cape Town to Charlottesville

This exhibition tracks the development of ideas and forms of peaceful protest in the 20th century, beginning with Mohandas Gandhi’s campaigns in South Africa and India, moving on to document the civil rights campaigns in 1950s and 1960s America, to the more recent South African and international protests against apartheid. It aims to give the viewer a sense of the development of peaceful protest as a political and social tool, the demographics that took part and its eventual success, or lack of, in changing the course of 20th-century history. It is particularly interesting to observe the difference and the evolution in terms of how the movements were commemorated, both by those who attended and those who chronicled it in print.

The focus on South Africa also allows us to consider the changing political landscape of that country, especially the dynamic of internal protest first gaining external coverage, then a previously local protest movement expanding to become an international phenomenon in an increasingly globalized world.

The Indian Opinion, Souvenir of the Passive Resistance Movement in South Africa, 1906-1914. Phoenix, Natal, South Africa, 1914. (DT763 .S88 1914) Gift of R. Smith Simpson Featured is a commemorative edition of the Indian Opinion magazine celebrating the passive resistance campaign spearheaded by Mohandas Gandhi in South Africa from 1906-1914, resulting in the eventual repeal of pass laws for the Indian population. This campaign was where Gandhi developed his idea of satyagraha, or devotion to the truth through the form of nonviolent protest.

The Indian Opinion, Souvenir of the Passive Resistance Movement in South Africa, 1906-1914. Phoenix, Natal, South Africa, 1914. Featured is a commemorative edition of the “Indian Opinion” magazine, celebrating the passive resistance campaign spearheaded by Mohandas Gandhi in South Africa from 1906-1914, resulting in the eventual repeal of pass laws for the Indian population. This campaign was where Gandhi developed his idea of satyagraha, or devotion to the truth through the form of nonviolent protest. (DT763 .S88 1914. Gift of R. Smith Simpson)

Atcheson Laughlin Hench. Anti-Apartheid Rally. Photograph, 1987 (RG-30/1/10.011) University of Virginia Visual History Collection This photograph, taken in 1987, depicts University of Virginia law students in the McIntire Amphitheatre, peacefully protesting the racially divisive apartheid system in South Africa. Hench, a University professor since 1922, was also a keen chronicler of University life through photography and many of his pictures remain in the University’s Visual History Collection. The apartheid government would begin the process of handover to a democratic system three years later in 1990.

Paula Windridge. Photograph of Anti-Apartheid Rally, 1987.
This photograph depicts University of Virginia law students in the McIntire Amphitheatre, peacefully protesting the racially divisive apartheid system in South Africa. The apartheid government would begin the process of handover to a democratic system three years later in 1990. (RG-30/1/10.011. University of Virginia Visual History Collection. Image by University of Virginia Digitization Services)

Tales from Under Grounds: Mr. Jefferson, his Women and his University

Posted on April 24, 2014 by

This is the last in a series of four posts, spotlighting the mini-exhibitions of students from USEM 1570: Researching History.

Tales from Under Grounds, Auditorium of the Harrison Institute/Small Special Collections, November 19, 2013. (Photograph by Sanjay Suchak.)

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Laura McCarthy, Second-Year Student

Laura McCarthy introduces herself at Tales from Under Grounds, November 19, 2013. (Photograph by Sanjay Suchak.)

Martha Jefferson Randolph: Her Time in the Spotlight

Martha Jefferson Randolph was born to Thomas Jefferson and Martha Wayles Skelton in the fall of 1772. As the only child to outlive Thomas Jefferson, Martha Randolph was endowed with the task of continuing her father’s esteemed legacy. During her lifetime, Randolph went above and beyond the duties assigned to the typical southern lady. As a mother of eleven, first lady, alumna of an exclusive Parisian school, and head of the Monticello estate, Randolph lived a life full of ambition, grace, and fortitude.

Draft of Martha Jefferson Randolph’s Will, 1834, from the Papers of the Randolph Family of Edgehill. In 1834, two years before her death, Martha Jefferson Randolph drafted a copy of her will, delineating the recipients of the property she planned to leave behind. These recipients include, but are not limited to, her five daughters, Mr. Coolidge (her son-in-law) and George Randolph (her son). She divides up her funds and other prized possessions, such as her father’s clock and includes her intentions for the futures of her slaves. For example, she states, “To Betsy Hemmings, Sally and Wormley, I wish my children to give their time.” By this, Randolph is indicating that she wishes for these enslaved people to have an informal emancipation which allows them to stay in the state of Virginia, instead of having to leave in one year as in the case of those formally emancipated. (MSS 1397. Image by Petrina Jackson)

Martha Jefferson Randolph’s Music Book. Monticello Music Collection. Music was an important aspect of the Jefferson family household. Both Thomas Jefferson and his wife Martha Wayles Skelton Jefferson were keen on music. For example, while the two were in courtship, Thomas Jefferson presented a pianoforte to Martha Wayles Skelton as a gift. Undoubtedly, the Jefferson’s raised their daughter Martha Jefferson Randolph to respect music in much the same way as they did. Martha Randolph started practicing music when she was 11, and, in 1784, went to Paris to study music along with drawing and literature. This music book owned by Martha Jefferson Randolph contains six Sonatas by Bach and one trio by Mozart. (MSS 3177-a. On Deposit from the Thomas Jefferson Foundation. Photograph by Sanjay Suchak.)

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Elvera Santos, First-Year Student

Elvera Santos posed with her mini-exhibition, November 19, 2013. (Photograph by Sanjay Suchak.)

Thomas Jefferson and Sally Hemings: You Decide

Displaying several historical resources, this exhibition about the 38-year liaison between Thomas Jefferson and his slave mistress, Sally Hemings, provides an eye opening experience to a debate that has been going on since the late 18th-century. The writings of Jefferson contemporaries and family members, such as Dumas Malone and, Ellen Wayles Randolph discount the relationship. On the other hand, the accounts of other contemporaries, like John Carpenter, John Hartwell Cocke, and John Rutledge support the relationship.

Sally Hemings was the half-sister of Thomas Jefferson’s late wife, Martha Wayles Jefferson. The relationship is believed to have begun in France when Sally Hemings served as the maid to Thomas Jefferson’s daughter. Many say Thomas Jefferson fathered Sally Hemings’s five children who lived past childhood. Whether or not you choose to believe is for you to decide.

Ellen W. Randolph Coolidge Letter to Joseph Coolidge (her husband). October, 24, 1858. Ellen Wayles Randolph Coolidge was the grand-daughter of Thomas Jefferson. In her letter to her husband, she defends Jefferson against the allegations that he kept a mistress. She calls on the evidence of his character as proof against the allegations. She, furthermore, presents an alternative for explaining Sally Hemings’s children’s’ striking resemblance to Mr. Jefferson, claiming that it was Colonel Carr (a cousin) that fathered Sally Hemings’s children. (MSS 9090. Purchase and Gift. Photograph by Sanjay Suchak.)

John Hartwell Cocke diary, 23 April 1859. In this entry, John Hartwell Cocke mentions a relationship between Thomas Jefferson and a mulatto, mixed race, slave. He treats the situation as a common and accepted occurrence in Virginia. It is worth noting that the journal entry was recorded 30 years after Thomas Jefferson’s death, so the events mentioned are recollections. (MSS 640. Image by Petrina Jackson.)

John Hartwell Cocke diary, April 23, 1859. In his diary, he writes, “Mr. Jefferson’s notorious example is considered,” in reference to the practice of slave owners taking their female slaves as mistresses. He continued, “In Virginia, this damnable practice prevails as much as anywhere—probably more—as Mr. Jefferson’s example can be pleaded for its defense.” (MSS 640. Image by Petrina Jackson)

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Chad Hogan, First-Year Student

Chad Hogan, seated behind his exhibition, November 19, 2013. (Photograph by Sanjay Suchak.)

The Founding of the University of Virginia

In 1817, Thomas Jefferson assembled the first meeting of the Central College Board of Visitors. At this first meeting, Jefferson and the Board passed the new rules and procedures for the College as they pursued the opportunity to create a new University for the state of Virginia. While the University changed its name to the University of Virginia in 1819, Jefferson and the Board continued to create the foundation of the University. The University officially opened on March 7th, 1825 and featured eight different schools for its students to attend. Since its opening, the University of Virginia has used that foundation to continue its growth and attract students to Charlottesville.

This mini-exhibition shows some of the University’s earliest documents and their significance to the opening of the University. It starts with the first minute book of the University of Virginia Board of Visitors, in which Jefferson documents the Board’s first meetings, and ends with the official opening of the University in 1825.

Minute Book of the University of Virginia Board of Visitors, 1817-1828. The Minute Book of the University of Virginia Board of Visitors is a record of the first meetings of the University’s Board of Visitors from 1817-1828. The book, written mostly by Thomas Jefferson, documents the history of the University from its formation as Central College in 1817 to its early years as the University of Virginia in 1828. The book also outlines all of the rules and procedures of the Board and includes the costs of building the University. While the book has been copied to create many facsimiles for the University, Special Collections still owns the original book. (RG-1/1/1.101. University of Virginia Archives. Image by Digitization Services.)

Page two of the Minute Book of the Board of Visitors, written in Thomas Jefferson's hand, 1819.

Page two of the Minute Book of the Board of Visitors, written in Thomas Jefferson’s hand, May 5, 1817. (RG-1/1/1.101. University of Virginia Archives. Image by Digitization Services.)

Page three of the Minute Book of the Board of Visitors, written in Jefferson’s hand and signed by Thomas Jefferson, James Monroe, James Madison, and John H. Cocke, May 5, 1817. (RG-1/1/1.101. University of Virginia Archives. Image by Digitization Services.)

Maverick Plan Engraving of the University of Virginia, 1825. In this 1825 engraving, Peter Maverick outlines one of the final designs for the Academical Village before the opening of the University. The engraving includes a detailed drawing of the Rotunda as well as a hand-written description of all the pavilions. The engraving also displays the layout for student housing. (MSS 171. Image by Digitization Services)

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Corey Bothwell, First-Year Student

Guest enjoy Corey Bothwell’s exhibition, November 19, 2013. (Photograph by Petrina Jackson.)

The Civil War Soldiers from the University of Virginia

The Civil War, the all-encompassing, defining war of 19th-century America, did not spare its toll on Charlottesville. Regiments of men willing to lay down their lives for the Confederate States of America sprang up in Charlottesville and across the greater Albemarle county area to defend their stake in their hometown and in their land. The University’s own students and faculty were willing to take the risks associated with warfare in order to resist the “Wicked Government at Washington.”

This exhibition highlights a portion of these students and attempts to paint a small portrait of their short time as soldiers. The majority marched on to Harper’s Ferry to attempt to secure the arms held there. They were then ordered back to the University by the governor, as he refused their entrance into state service on account of “too much talent in one body.” Many students did end up making it into state service, and many of these University soldiers would give their lives for what they believed in.

Gildersleeve, J. R. Revised Roster of the Southern Guard and Sons of Liberty, 1911. This roster lists the names of students organized for two military companies during 1860-1861 term – “The Sons of Liberty” and “The Southern Guard”. These “University Volunteers” would join with local Charlottesville forces and other local Confederate companies and march on to Harper’s Ferry where they would attempt to seize control of it. An excerpt from the faculty journal explains how the aim of this raid is to secure advantage for Virginia “in the attitude of resistance she is about to assume towards the Wicked Government at Washington.” (MSS 38-388. Image by Digitization Services)

Photograph of a Reunion of University of Virginia Confederate Veterans by Holsinger Studio, June 11, 1912. Pictured here are 28 veterans of the 118 invited to attend a reunion of surviving Confederate Alumni from the years between 1860 and 1865. Note the confederate flag on the car in the background. (RG-30/1/1.801. University of Virginia Visual History Collection. Image by Digitization Services.)

Tales from Under Grounds: Literature and U.Va. Societies

Posted on April 3, 2014 by

This is the third in a series of four posts, spotlighting the mini-exhibitions of students from USEM 1570: Researching History. This is the abridged version of the students’ projects, featured at their outreach program, Tales from Under Grounds.

“Save the Date,” Fall 2014. (Photograph by Caroline Newcomb)

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Abby Ceriani, First-Year Student

Photograph of Abby Ceriani by Sanjay Suchak, November 19, 2013.

Gothic Literature

This exhibit shows a brief history of Gothic literature, which has had a great influence on both its readership and later literary works. Gothic novels were taken both seriously and ironically as shown by the popularity of the genre and its parodies.

Authors, such as Ann Radcliffe who wrote The Mysteries of Udolpho, were at the heart of the Gothic novel movement. However, not everyone took Radcliffe’s novels seriously. Jane Austen wrote Northanger Abbey, making fun of Gothic romance novels.

To appeal to a broad audience, Gothic fiction was produced in multiple volumes as well as in smaller, cheaper booklets called chap-books. These books, with their elements of romanticism, horror, and mystery have thrilled and entertained audiences over the centuries.

Austen, Jane. Northanger Abbey: and Persuasion. London: John Murray, 1818. Jane Austen’s famous novel Northanger Abbey was a parody of Gothic romance novels, specifically, Ann Radcliffe’s The Mysteries of Udolpho. Austen’s novel is about a girl with an overactive imagination. She tries to imagine her ordinary situation as that of a Gothic romance, which causes her much trouble. Austen also makes use of the iconic Gothic scenery by having much of the book take place in an old Abbey. On page 69 of Northanger Abbey, Austen refers to The Mysteries of Udolpho and lists several other Gothic novels. (PZ2 .A8 N 1818 v.1. Sadlier-Black Collection of Gothic Fiction. Photograph by Sanjay Suchak)

The Bleeding Nun, a Mechanical Print from The Monk. London: S. Poole, 1817. The writing on the bottom of “The Bleeding Nun” says “This mechanical print exhibits by its shadow, the terrific change of features of the bleeding nun, according to the description in the novel of The Monk.” The Monk, written by Matthew Gregory Lewis, is an iconic Gothic novel. The mechanical print shows the nun with normal features and can be changed to show the nun with a skull’s face. (Broadside 1817 .B54. Sadlier-Black Collection of Gothic Fiction. Image by Petrina Jackson)

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Becca Pryor, First-Year Student

Becca Pryor talks to a guest about her exhibition, November 19, 2013. (Photograph by Sanjay Suchak.)

Meeting Marjorie

Marjorie Kinnan Rawlings was born on August 8, 1896 in Washington DC. At 14, Rawlings’ short stories were published in the Washington Post. During her studies at the University of Wisconsin, she wrote for the Wisconsin Literary Magazine. While living in Louisville, KY and Rochester, NY, Rawlings wrote for local journals as well. After feeling restless living in cities, Rawlings and her husband moved to the rural coast of Florida. It was here where Rawlings’ writing career really took off. She drew inspiration from the people, nature, and interactions between the two to shape her novels, such as The Yearling, and short stories.

Rawlings exposed a side of American culture that had not been shared. She lived in the scrub with a family in order to experience their lifestyle and learn how to appreciate their high spirits amidst low circumstances. By fully immersing herself in the culture of Florida, she was able to write from a genuine and sincere perspective.

Photographs of Rawlings’ Cross Creek, Florida Home. These photos were developed on October 23, 1968, which is 15 years after Rawling’s death. Rawlings and her husband bought a seventy-two-acre farm in Cross Creek because of the great beauty she associated with the area. Cross Creek inspired Rawlings to write many short stories, which were published in Scribner’s Magazine. After some time at Cross Creek, Rawlings moved in with a family who resided in the scrubs of the inland of Florida, so that she could experience firsthand life in rural Florida. Here, the honesty of the people in the scrub amidst their challenging circumstances impressed Rawlings. (MSS 6785-d. Clifton Waller Barrett Library of American Literature. Image by Petrina Jackson)

Catalog of Books In the Taylor Library of American Best Sellers. Lillian Gary Taylor records the title page of Marjorie Kinnan Rawlings’ The Yearling as well as other information about the book, including its price and physical description. The Yearling was published in 1938 and won Rawlings a Pulitzer Prize in 1939. The novel was also the best selling book of 1938 and sold over 250,000 copies in that year alone. The popularity of this book was so great that it has been translated in over 20 different languages and also made into a motion picture in 1946. The novel describes the relationship between a young boy, named Jody, and his pet fawn, Flag. Like Rawlings’ other books, The Yearling is set in the inland of Florida where nature plays a key role in shaping the story. (MSS 5231-b. Taylor Collection of American Best-Sellers. Image by Petrina Jackson)

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Adam Hawes, First-Year Student

Adam Hawes introduces himself at Tales From Under Grounds, November 19, 2013. (Photograph by Sanjay Suchak.)

The Raven Society

Edgar Allan Poe is perhaps the most well-known Gothic author of the 19th-century. His mysterious tales are some of the most recognized works in literature. Poe is probably also the most famous college dropout in the history of the University of Virginia. He only attended the university for one year before gambling debts forced him out. Despite only attending U.Va. for one year, Poe’s influence can still be felt here in the form of the Raven Society.

Named for Poe’s best-known poem, The Raven Society has been at U.Va. since 1904 when it was established as a merit-based, social, literary society. The society continues to hold academic integrity at a high value and presents awards to students and faculty for their academic interests and pursuits. The Raven Society also presents scholarships for undergraduate and graduate students at each school of the university. In addition to awarding academic achievement, the society has worked since 1907 to restore and upkeep Poe’s room on the West Range. Overall, the society keeps Poe’s spirit alive at the University of Virginia.

The Raven Society of the University of Virginia: A Brief Historical Note by Authur Kyle Davis, 1987. This broadside serves as an overview of the Raven Society. Printed over 80 years after the founding of the society, it lists the history of the society as well as the many aspects of the organization. It also explains membership requirements as well as the the purpose of the society. This document is from the papers of Francis L. Berkeley, Jr. (Broadside 1987 .D38. Image by Petrina Jackson)

This photograph shows the Raven Society at their annual Raven Awards Ceremony, 1952. At this ceremony, the Society presents the annual Raven Award to students, faculty, administrators, and alumni, recognizing them for their scholarly pursuits. The members can be seen here dressed formally. (RG-30/1/10.001. University of Virginia Visual History Collection. Image by Digitization Services)

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Carrie Zettler, Second-Year Student

Carrie Zettler discusses her exhibit with (fill in). (Photograph by Sanjay Suchak.)

Carrie Zettler discusses her exhibit with library staff member Barbara Hatcher. (Photograph by Sanjay Suchak.)

The Hot Feet In Hot Water

The Hot Foot Society was formed in the spring of 1902 by a group of U.Va. students living on the East Range. The stated purpose of the organization was to host large parties that were open to all who wished to partake in the revelry. Unstated was the acknowledgement that members of the Hot Foot Society liked to drink. Never intending to be members of a secret society, Hot Feet often publicly displayed their drunkenness to the dismay of the University’s faculty.

In 1911, the Hot Foot Society pulled a bold prank. After a particularly rambunctious celebration, a few Hot Feet broke into the natural history exhibit in Cabell Hall and extracted stuffed animal specimens. President Alderman did not see the humor in the prank. He expelled four Hot Foot Society members and effectively disbanded the organization. In January 1913, the Incarnate Memories Prevail (I.M.P.) Society was formed. With the motto of “Nos Mortous, Sed Dormiens” (not dead, but sleeping), the legacy of the Hot Foot Society was preserved in this new organization.

“Recollections of the Hot Feet.” Papers of the Hot Foot Society, 1903-1973, n.d. Written by Hot Foot Society member Herbert “Herb” Nash, “Recollections of the Hot Feet” is a poem that tells about the notorious prank pulled by the Hot Foot Society, circa May 1911. The incident happened after a celebration on the Lawn attended by members of Tilka, Eli Banana, and the Hot Foot Society. The poem recounts how a few Hot Feet broke into Cabell Hall and removed stuffed animal specimens from the natural history exhibit. They placed these animals, including a polar bear, a Bengal tiger, and an ostrich behind the desks of professors and on the steps of their Lawn residencies. The poem also alludes to the expulsion of four Hot Feet and the banishment of the organization. (RG-23/46/1.971. University of Virginia Archives. Image by Petrina Jackson)

Charter of the I.M.P. Society from Papers of the Hot Foot Society, 1903-1973, c.a. 1914. This document is the first charter of the I.M.P. Society, which was founded on January 12, 1913. Written by Mc-K-Ski I, the charter was officially enacted a year later. The papers contain information about how the new organization would function. Details are provided about the I.M.P. Society’s meetings, members, fees and assessments, initiation, insignia, and festivities.(RG-23/46/1.971. University of Virginia Archives. Image by Petrina Jackson)

Tales from Under Grounds: Women’s Suffrage, Coeducation, and Israeli Statehood

Posted on March 13, 2014 by

The following blog post is the second in a series of four, spotlighting the mini-exhibitions of students from fall semester’s USEM 1570: Researching History. This is the abridged version of the students’ projects, featured at their outreach program, Tales from Under Grounds.

Ally Clement gives her classmates a “tour” of her mini-exhibition in preparation for Tales from Under Grounds.

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Ally Clement, First-Year Student

Photograph of Ally Clement by Sanjay Suchak, November 19, 2013.

Ally Clement presenting her exhibit at the event, November 19, 2013. (Photograph by Sanjay Suchak)

The Fight for Rights: Women’s Suffrage 1886-1912

From one of the first debates on women’s suffrage to why people should or should not advocate for women’s suffrage, this exhibit illustrates the points of view about women’s suffrage from 1886 until 1911. The fight for women’s right to vote was a prominent piece of American history. Women and men across the country joined together in the fight for or against equal voting rights for women.

Suffragettes made newspaper headlines throughout their fight and were the main topics of pamphlets distributed in the early 1900s. The fight for women’s suffrage did not cease until 1920 when the 19th amendment was passed and added to the U.S. Constitution.

Scrapbook regarding World War I and Women’s Suffrage, 1913-1918. Emily Wayland Dinwiddie compiled this scrapbook, which includes history-making headlines from newspapers during the beginning of women’s suffrage to World War I. The headlines of this page are what are most important. They show many different views of how people (editors specifically) felt about women having the right to vote. Some headlines are exciting like “Hurrah for the Suffragette!” while others blame women’s suffrage on issues such as divorce or laziness. (MSS 3194-c. Image by Petrina Jackson)

“Facts and Dates to Remember” (New York: National American Women’s Suffrage Association, 1911). Numerous informative and opposing pamphlets were issued during the time of women’s suffrage but this handout lists other countries and areas that have already allowed women the right to vote by 1911. The earliest suffrage right listed is Wyoming in 1869. It is important to remember that even though it was not legal to do so, some states already allowed women to vote. (Broadside 1911 .N28c. Image by Petrina Jackson)

Verso of “Facts and Dates to Remember” (New York: National American Women’s Suffrage Association, 1911). (Broadside 1911 .N28c. Image by Petrina Jackson)

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Kate Westman, First-Year Student

Kate Westman explains her exhibition to Author Donna Lucey, November 19, 2013. (Photograph by Sanjay Suchak.)

Hoo’s She?

Although the University of Virginia did not become fully coeducational until 1970, calls for coeducation were made many years earlier. When a significant number of universities and colleges had begun providing coeducational opportunities by the end of the 19th century, the University of Virginia was pressured into doing the same. The University held on tightly to its tradition, however, as it took nearly eighty years to become fully coeducational after admitting the first female student.

Women were allowed to study at the University in very limited capacities beginning in the end of the 19th century. They could study privately with professors, take examinations, and earn pass certificates. In the beginning of the 20th century, the summer school began, where women could study but not earn credit. Though these opportunities were far from equal to those of men, these were significant steps toward coeducation in the University that clung so tightly to tradition.

Minute Book of the Board of Visitors of the University of Virginia, 1892. Minutes of the Board of Visitors from June 1892 includes a resolution that was passed in response to Caroline Preston Davis’s request to take math exams. During this time many schools were becoming coeducational, and the resolution that passed was U.Va.’s way of dealing with this issue. With a registration fee and instructor permission, women of good character and preparation could study privately with a professor and take examinations for a specific class in which men were enrolled. However, they were not allowed to attend lectures and received pass certificates instead of diplomas. Though this was a step toward better education for women, U.Va. still held onto tradition, considering itself unprepared to take on the “duties of instruction” for young women at this time. (RG-1/1/1.382. Image by Digitization Services)

Detail of the 1892 entry of the Board of Visitor's Minute Book, regarding women at the University. ()

Detail of the June 1892 entry of the Board of Visitor’s Minute Book, regarding women at the University. (RG-1/1/1.382. Photograph by Petrina Jackson)

Pass Certificate of Caroline Preston Davis. June 14, 1893. After the Board of Visitors passed the resolution about women studying at U.Va., in 1892, Caroline Preston Davis became the first female student and the first woman to have her studies recognized at U.Va. By taking the same mathematics examinations as men (and doing quite well on them), she earned this pass certificate in lieu of diploma. The paper on which this certificate was printed was the same as diploma paper, but parts of the diploma were marked out. Note that “Mr.” was changed into “Miss” and “a graduate” became “entitled to a pass-certificate on all graduating examinations in the School of Pure Mathematics.” This certificate shows how women were simultaneously close to and far from the educational opportunities that men had. (MSS 4951. Image by Petrina Jackson)

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Bethany Ackerman, First-Year Student

Bethany Ackerman discusses one of her exhibition items with Special Collections staff, November 26, 2013. (Photograph by Petrina Jackson)

Bethany Ackerman discusses one of her exhibition items with Special Collections staff members George Riser and David Whitesell, November 26, 2013. (Photograph by Petrina Jackson)

Coeducation at the University of Virginia

The admission of women into the University of Virginia was not without strife and obstacles. With many faculty, alumni, and students clinging to tradition, the idea of admitting women specifically into the College of Arts and Sciences seemed preposterous. However, as times changed so did the mindsets of individuals with authority at the University of Virginia. Through academic and political reflection, leaders at the University decided to wield their power to move the University of Virginia towards a coeducational society.

Nevertheless, the decision to become a coeducational institution was not the end to the road of controversy, change, and acceptance; it was only the beginning. By following a timeline of student and faculty work, we can gain insight into the path women took to become an accepted presence at the University of Virginia.

Grimwood, Steve. “By God I Think They’re Here to Stay.” The Cavalier Daily. 14 September 1970: 3. In February of 1969, U.V.a.’s Board of Visitors passed the resolution admitting women into the College of Arts and Sciences beginning in the 1970 fall term. In its first 1970-71 newspaper, the Cavalier Daily notes and elaborates upon the presence of women at the University. The front page headline “350 Women Fill Out Profile of Entering Class” proves the significance of coeducation to the University. The inside article “By God I Think They’re Here to Stay,” further elaborates on student opinion. The article is flavored with mixed emotions; pleasure and tentative acceptance along with skepticism and underlying uncertainty about the future. (Photograph by Petrina Jackson)

“Coeducation.” Corks and Curls. Charlottesville: University of Virginia, 1971. Corks and Curls was the yearbook of the University of Virginia. The 1971 Corks and Curls edition was printed two years after women were admitted entrance into the College of Arts and Sciences. In the 1971 Corks and Curls, a small excerpt, titled “Coeducation” speaks lightly and positively about the impact of women on the University. This passage shows that, although admitting women into the College was an adjustment for many, ultimately the change should be accepted with grace and the diversity women offer, gratefully accepted. (LD 5687 .C7.1971. Image by Petrina Jackson)

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Zachary Krooks, First-Year Student

Zachary Krooks discusses his exhibition with Sharon Defibaugh, Special Collections Archives and Manuscripts processor, November 19, 2013. (Photograph by Sanjay Suchak.)

The Journey to 1948: An American Perspective

Most studies of the relationship between the Jewish and the Arab communities in Palestine and the situation that ensued in 1948 are focused on the two groups themselves and the British involvement. This exhibit’s purpose is to show that these entities were not alone in the conflict; the world’s rising superpower, the United States, closely monitored the situation and in turn had a significant impact on the outcome.

Through publications in American periodicals, pamphlets, and proclamations on the subject, one is able to determine that without American influence, it is possible the Jewish-Arab conflict in Palestine would not have resulted in the creation of the State of Israel.

“Palestine In the Press” [New York, 1946.]. This book is a series of news articles published in the United States concerning the issue of Palestine and the creation of an independent state. From these articles, it appears that American public opinion is on the side of the establishment of an independent Jewish state in the land of Palestine. Many of the articles criticize the British’s handling of the situation and even go as far as to state that the actions of the British are “all too reminiscent of… a Nazi concentration camp.” What is currently displayed is a political cartoon, in which the cartoonist appears to be stating that without the British support, the Palestinians would lose the state to the Jews, depicting the Palestinians as weak and defenseless. (D743.9 .C65 v.4 no.15. Image by Petrina Jackson)

“A Proclamation On the Moral Rights of the Stateless and Palestinian Jews” (New York, 1942). In this proclamation, numerous American military, political, religious, and academic leaders, among others, have expressed their sympathy for the plight of the Jews in Europe and in the Middle East. After detailing the suffering of the Jews in Europe and their unwillingness to give up on their people, the writers of this proclamation state that the Jewish people deserve a nation for which they can fight for and be a part of. (Broadside 1942.P76. Image by Petrina Jackson)

Tales from Under Grounds: Alcohol, Marijuana, Insanity, and Ads

Posted on February 20, 2014 by

This is the first in a series of four posts, spotlighting the mini-exhibitions of students from USEM 1570: Researching History.

Last fall semester, I had the pleasure of teaching USEM 1570: Researching History, a course I designed with the purpose of introducing undergraduates to the wonderful, yet painstaking world of primary source research. Sixteen undergraduates took on the challenge of the class and for a semester were immersed in searching for, finding, and evaluating the wealth of materials in Special Collections. Their final assignment was to create a mini-exhibition, telling a particular story with only five items of varying formats. After creating the exhibitions, they presented them at their outreach program, Tales from Under Grounds. The program was a success! I wish everyone could have been there to see their great work.

USEM students due mock presentations of their mini-exhibitions in preparation for Tales from Under Grounds.

USEM student Adam Hawes does a practice presentation of his mini-exhibition as his classmates look on.

For those who could not make it, I present to you the second best thing: Tales from Under Grounds in its abridged version as captured in each student’s own words.

Note: only two selections per student are shown.

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Jenna Parker, First-Year Student

Photograph of Jenna Parker by Sanjay Suchak, 19 November 2013.

Bottoms Up: Drinking in America in the 19th and Early 20th Centuries

Despite the various Temperance Movements in the United States in the 19th century, drinking was always a very popular part of American society, and attempts to curb the American cultural trait of drinking just popularized the habit even more. It was not an uncommon practice for drinking to start at breakfast and for children to drink as well.

This display showcases a unique recipe for beer from Thomas Jefferson, a cookbook with numerous recipes for alcoholic beverages, a musical score from a popular drinking song, Charles Dickens’ liquor flask, and alcohol trade catalogs. These items serve to demonstrate how commonplace drinking was in American culture and society at a time when drinking was both expected and discouraged.

Charles Dickens’s Glass Liquor Flask. This glass spirit flask is the one that the famous British author Charles Dickens carried with him while he was traveling in the United States. (MSS 10562. Image by Digitization Services)

A note from Charles Dickens to his sister-in-law and housekeeper Georgina Hogarth with household instructions, which was included with the flask. (MSS 10562. Image by Digitization Services)

A note from Georgina Hogarth certifying the authenticity of the flask.(MSS 10562. Image by Digitization Services)

These trade catalogs are from around 1887-1914, and advertise liquor from Heller Bros., the “Oldest, Largest, Leading, and most Prompt Mail Order Liquor Merchants and Wholesale Beer Agents in the South”. The company was based in the city of Bristol, VA-TN. (TS199 .A5 A6 no. 01. Albert H. Small American Trade Catalogs Collection. Image by Petrina Jackson)

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Aaron Clyman, First-Year Student

Photograph of Aaron Clyman by Sanjay Suchak, 19 November 2013.

Cannabis Calumny in Capitalist America

This exhibit focuses on the relationship between the United States and the plant cannabis. This includes, the more commonly known form, marijuana, and industrial hemp, which are quite different despite being legally lumped together. The majority of the items in the exhibit regard misinformation that the public has been given regarding this political issue.

The main focus of these items should be the various scientific aspects because, as this is a highly factual issue, they must be held in the highest regard. Inside many items there are scientific studies, complete or partial, which have unanimous conclusions contrary to general notions on the matter. In this lies the true issue, people making decisions on misinformation, which inevitably leads to the misinformed policy seen today.

Pot Art by stone mountain, published by Apocrypha Books, 1970. This book is a collection of newspaper clippings, magazine articles, photos, comics, surveys, and more all regarding Cannabis and it’s accompanying culture. The majority of these serve to be informational or entertaining, all in all creating a complete collection. (HV5822 .M3 S86 1970. Marvin Tatum Collection of Contemporary Literature. Image by Petrina Jackson)

Cover of The Marijuana Convictionby Richard Bonnie and Charles Whitebread II, published by the University Press of Virginia, 1974. This book discusses the relationship that Cannabis and the United States have had throughout the country’s history. Inside is a report from NIMH (National Institute of Mental Health) which gives a full synopsis Cannabis and its use, including user stereotypes, side effects, genetic damage, addiction, the gateway theory, and criminal implications. (HV5822 .M3 B66. Image by Petrina Jackson)

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Megan Strait, First-Year Student

Photograph of Megan Strait by Sanjay Suchak, 19 November 2013.

“Who’s Loony Now?”

The scandalous story of John (a.k.a Archie) Armstrong Chaloner’s false commitment to Bloomingdale, an insane asylum in New York, is a tumultuous tale. In 1893, Archie envisioned a textile mill town in North Carolina that he christened Roanoke Rapids. He drafted his siblings, especially his younger brother, Winty, to invest in the town. Winty, who was originally excited about the idea, felt that Archie’s spending was out of control. So, when Archie came forward with his self-proclaimed ability to tap into his unconscious (the “X-Faculty”), Winty took the opportunity to lure him to New York where he was unfairly tried, declared insane, and institutionalized.

After four years, Archie escaped from the asylum and returned to New York to press charges. Archie petitioned the Supreme Court, won the case and was awarded $30,000, however “the judge immediately halved the award.” The win was what was important to him—his family surrendered the property they’d taken from him, and he was more or less able to rebuild his life.

Portrait of J. A. Chaloner by Rufus Holsinger, 1918. Chaloner’s hair and position’s semblance to Napoleon is no coincidence—Chaloner believed that he bore a great likeness to Napoleon. He was a huge fan of the infamous ruler—paintings and busts of Napoleon were spread throughout his estate, and it was his image that Chaloner assumed when under the influence of the X-Faculty. (MSS 9862. Holsinger Studio Collection. Image by Digitization Services)

Letter from Mary Elizabeth Breen to Archie, 1901. Breen congratulates Archie on his escape from Bloomingdale. She says that she had a friend who was falsely committed to Bloomingdale as well. She also sends a four-leaf clover to wish his new book, The X-Faculty, which explained his self-proclaimed mental abilities, success. (MSS 38-394-e. Gift of George Worthington. Image by Petrina Jackson)

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Amelia Garcia, First-Year Student

Amelia Garcia (right) talks to English graduate student and Special Collections employee about an advertisement from the 1950s, 19 November 2013. (Photograph by Sanjay Suchak)

Advertising to Americans: The 1950s

The 1950s was characterized as the decade of consumerism as the prosperous postwar economy served as a hotbed for advertisers. Upon analyzing the advertisements showcased in Esquire, The Saturday Evening Post, Life, and Ladies’ Home Journal, one can get a sense for how idealized life was like in the 50s. Overlapping themes in these periodicals’ ads include: wholesome family values, established women’s roles, smoking popularity, and a fascination with air travel.

Advertising during this period reflected a conscious return to traditional family values. The idea of a domesticated woman was also prevalent in 1950s advertising as most female-directed ads were for food, household appliances, beauty, or children’s products. During this time period, tobacco companies fought to yield the highest profit since smoking was cool, cheap, and socially acceptable. Americans were also mesmerized by commercial flying. Marketers capitalized on this to sell anything from shoes to club memberships, using the catchy term, the “Jet Age.”

Note: Students had the option of creating a digital story for Tales from Under Grounds, and Amelia, alone, chose it. Check out her amazing digital story on Advertising to Americans: The 1950s:

Albert and Shirley Small Special Collections Library

Notes from Under Grounds

Category Archives: Tales from Under Grounds

Tales from Under Grounds III: Biblical Art and The Architecture of Monticello

Tales from Under Grounds III: Circuses and Light

Tales from Under Grounds II: War

Tales From Under Grounds II: Regional History and Mr. Jefferson and His University

Tales from Under Grounds II: Pastimes, Play Time, Illustration, and Literature

Tales from Under Grounds II: Plato, Darwin, Early Medical Practices, and Peaceful Protests

Tales from Under Grounds: Mr. Jefferson, his Women and his University

Tales from Under Grounds: Literature and U.Va. Societies

Tales from Under Grounds: Women’s Suffrage, Coeducation, and Israeli Statehood

Tales from Under Grounds: Alcohol, Marijuana, Insanity, and Ads