Category Archives: Tales from Under Grounds

Juneteenth 2022: The Nansemond County Training School 1924-1970

Posted on by
1

Juneteenth was originally established to commemorate June 19, 1865, when enslaved African Americans in Galveston, Texas heard the reading of the Emancipation Proclamation and learned that they were free. However, Juneteenth is not the only freedom celebration in the United States. For more than two hundred years, Black Americans have selected various dates—including January 1, March 3, July 5, and August 1—for the day’s local significance to the abolition of the slave trade and slavery. With the recent creation of Juneteenth as a federal and state holiday, today we’re reflecting on education as one of many ways that African Americans manifested freedom in Virginia.
— Krystal Appiah, Curator of Virginia Collections

Nansemond County Training School was the first high school for African Americans in Suffolk, Virginia in 1924. We recently received the Margaret Stephenson Collection on Nansemond County Training School (MSS 16683) which documents the work of alumni from 1998 to 2007 to preserve the school and its history—which is also their history. They made a documentary film “Living Through Our Roots” about the school which is included in the collection. Alumni also held reunions to encourage former classmates to share their memories and ephemera in the film. I have enjoyed learning about the school and the people who attended it, and I feel enriched by their personal and uplifting perspectives on life after having lived through segregation. We would like to explore this new collection with you as a celebration of Juneteenth.
— Ellen Welch, Manuscripts and Archives processor

The Nansemond County Training School grew out of a one room building named Little Fork School located on the estate of William Jackson Copeland. According to former second grade teacher Paula Dozier, Copeland envisioned providing a building site to meet the educational and cultural needs of African American children before the turn of the century. The original school was destroyed by fire; its replacement was built in 1924 and become known as the Nansemond County Training School.

Photograph of red school building

Nansemond County Training School 1924-1970

The school, with seven classrooms and one auditorium, contained an elementary and secondary school, and was one of ten Rosenwald schools in Suffolk, Virginia. The Rosenwald schools were known for their standardized floor plans which were designed to let sunlight into the classrooms in the afternoon to save money on electricity and heating. Hannibal E. Howell was its first principal from 1919 to 1961, serving for 42 years. In 1964, the name was changed to Southwestern High School and, after the racial integration of county schools, became Southwestern Intermediate School. Today it is called Southwestern Elementary School and is located next to the Nansemond County Training School (which is currently used for storage).

Headshot portrait of man in suit

Hannibel E. Howell, Principal of Nansemond County Training School 1919-1961

Nansemond County Training School graduating class of 1931

1920’s Photograph of a 4-H Club meeting on the grounds of the new school. (Courtesy of Ruby Holland Walden)

Rosenwald schools were partially funded by Julius Rosenwald (1862-1932), an American businessman, philanthropist, and part owner of Sears and Roebuck Company. Rosenwald met Booker T. Washington in 1911, and Washington encouraged Rosenwald to address the poor state of African American education in the South. In 1917, Rosenwald incorporated the Julius Rosenwald Fund to help fund schools with inadequate buildings and teaching materials. The fund required matching support from the community, parents, and local government. Nansemond County Training School received $1,500 from the Rosenwald fund, $5,000 from African American families, and $11,500 in public money.

By the time the program ended in 1932, the Rosenwald Fund had supported nearly 5,000 schools, 217 teachers’ houses, and 163 shop buildings for the education of Black students in the rural South. The documentation in the National Register of Historic Places states that the “Nansemond County Training School is an excellent example of rural southern school architecture, and the combination of public and private money and monies from the Julius Rosenwald Fund show how strongly the community wanted to be able to educate its African American population in a modern school building.”

According to an article by Phyllis Speidell in the 2008 Virginia Pilot article “Raising Funds to Restore Historic School into Heritage Center,” “Many of the Rosenwald schools have disappeared or deteriorated, while the Nansemond County Training School stands strong because it was constructed by skilled Black stonemasons living in the area.”

Ruby Walden (1921-2020; Class of 1938). Her slogan: “what I can, I ought to do. With God’s help, I will do.”

One of the school’s alumni, Ruby Walden (1921-2020; Class of 1938), recalled the struggles of those who attended the school endured just to get basic school supplies. She carried a notebook full of court documents from a court case about the segregated schools—those papers detailed everything from the disparity in library space between Black and white schools to a list of patrons who had given money to help fight the case. In the Suffolk News Herald article “Former School’s Alumni Recall Past, Look to the Future” (October 1, 2013), news editor Tracy Agnew quotes Walden: “We’ve come a long way with a whole lot of struggles,” citing how Black children had to walk to school while white children were provided with buses for transport. Walden added, “I’m proud of the school, but I’m not proud of the fact we could have had a much better education.”

In another article “What She Could, She Did” by Jimmy Laroue in the Suffolk-News Herald (December 29, 2020), Walden is interviewed by Dr. Cassandra Newby Alexander in 2008 as part of an oral history of Virginia’s appellate court. It describes the active leadership of Ruby Walden:

“As part of her legacy, Walden worked with the Suffolk-Nansemond branch of the NAACP to help start a community center and the Nansemond Community Ballpark. She also helped organize the Holland-Holy-Neck Civic League, helping increase voter participation and helped start a Legal Aid Society in Suffolk. Walden also worked with the Literacy Council and spoke personally with the Reverend. Dr. Martin Luther King Jr. when he visited Suffolk, an event she estimated about 20,000 people attended. Walden said, “integration was the law of the land,” so they were torn between integration and their lawsuit to equalize the schools. She recalled that the “whole state started out in ‘massive resistance,’ and then it went to ‘freedom of choice,’ and then ‘assignment.”

Photograph of woman holding framed portrait.

Mae Burke holds her 1958 graduation photo from the Nansemond Training School.

In thinking of her fond memories of the school, Nansemond graduate Mae Burke (Class of 1959) said, “We don’t want to live all our lives and not leave anything for future generations. We don’t want to live here and work here and raise our children here and have nothing to show for it. I think it is a good thing to tell the history.” She and Wardell Baker (Class of 1956), president of the Heritage Center Association, hope that the school can be restored, preserving a historic African American legacy in Suffolk. He said, “This is not an African American project—it’s for the entire area, the whole community.”

Despite the hurdles and inequities of a segregated school system and society, many of the Nansemond/Southwestern alumni achieved academic and professional success, graduating from universities including New York University and Norfolk Polytechnic State University (Norfolk State University) and having professional careers as teachers, doctors, politicians, and lawyers. Our work now is to share their legacy and preserve the story of this school.

This collection was recently donated to the Small Special Collections library by Margaret Stephenson, an architectural historian who collected materials from 1988-2007 to document the effort to preserve historic Nansemond County High School. Stephenson (1942-2014) was born in Richmond, Virginia to Lucille Long Bowles (originally of Severn, North Carolina and later of Como, North Carolina). She earned a master’s degree in architectural history from the University of Virginia and worked for the City of Raleigh’s Planning Department and the Virginia Department of Transportation’s Environmental Division. The Nansemond County Training School was added to the National Register of Historic Places in 2004 in (Holland) Suffolk, Virginia.

A Curator’s Wunderkammer: A Decade of Collecting for UVA

Posted on by
Reply

On the occasion of his retirement—after a decade of curatorial work at the Albert and Shirley Small Special Collections Library—David R. Whitesell departs the University of Virginia Library having made significant contributions to the collection.

Upon his arrival in 2012, David brought with him deep expertise and experience in acquisitions, bibliography, cataloging, and curation from prestigious institutions, as well as essential knowledge of the rare book and manuscript trade. The Library has benefited from David’s work and has grown in extraordinary ways, all to the betterment of teaching and research. 

Our current exhibition, A Curator’s Wunderkammer: A Decade of Collecting for the University of Virginia (on view in the First Floor Gallery of Harrison/Small through July 9, 2022) celebrates and chronicles the stories behind David’s selected acquisitions, opening the door to an insider’s perspective on the work of a curator—where curiosity is always a key to success.

Celebrating a decade’s worth of acquisitions by Albert and Shirley Small Special Collections Library curator David R. Whitesell on the eve of his retirement: a Wunderkammer, or cabinet of curiosities that illuminates UVA’s current collecting policy, the ins and outs of the unpredictable and highly competitive acquisitions process, and how curators add value to the collection, one acquisition at a time.

Since 2012 I have shared with curatorial colleagues the privilege of augmenting UVA’s truly remarkable rare book and manuscript holdings. My remit has been primarily pre-1900 materials in all formats. As I prepare to hand this responsibility to a new curator, it seems an opportune time to reflect on a decade’s worth of acquisitions. In this exhibition I offer a small selection with comments intended to illuminate UVA’s current collecting policy, the ins and outs of the unpredictable and highly competitive acquisitions process, and how curators add value to the collection, one acquisition at a time.

Even with a healthy budget, UVA curators can acquire only a tiny fraction of the material appropriate for UVA’s diverse research and teaching needs. No precise count is possible, but my purchases for UVA total approximately 15,000 items; the gifts I have helped bring in may exceed 100,000 items. This constitutes less than 2% of a collection that has been abuilding for two centuries. Still, I hope to show that the value I have added is more than negligible, even if ultimately unquantifiable.

Were my acquisitions arrayed in one massive display, they would likely perplex the beholder by their apparent randomness—more akin to a Wunderkammer, or cabinet of curiosities, than a considered, curated selection—until placed within the larger context of UVA’s collection. This is inevitable given the capricious process by which we acquire rare, often unique, materials—a process dependent not only on funding, but especially on knowledge, considered selection, hard work, timing (from lightning response to extreme patience), relationships, market savvy, and luck.

The small sampling on display in the exhibition has been ruthlessly pared by omitting gifts and items representing many areas in which I have collected. Despite having some topical and linear arrangement, it remains more a Wunderkammer than a coherent whole. I encourage you, then, to explore this exhibition in your own way, engaging with those curiosities which attract your gaze and, I hope, some that do not. If I have done the job well, these disparate objects will generate serendipitous connections, insights, and meanings for you, for whom we assemble our collections.

View the full exhibition catalog online here. 

Every day—now through mid-June—we’ll highlight one object from A Curator’s Wunderkammer on our social media channels. Follow us on Twitter, Facebook, and/or Instagram!

The exhibition will be on view through July 9, 2022 in the First Floor Gallery of Harrison/Small.

 

Picketing and Petitioning: Desegregation at the University of Virginia and Charlottesville Virginia in the 1960’s

Posted on by
5

This post, in celebration of Black History Month, is contributed by Archives and Manuscripts Processor Ellen Welch in the Small Special Collections Library:

While processing a new collection—the Papers of Dr. Allison Burnett (MSS 16656), a biology professor and civil rights activist at the University of Virginia in the 1950s—I found a folder full of one to two page petitions signed by UVA faculty, staff, and students encouraging the boycott of the University Theater and other Charlottesville Businesses that denied admittance to Black students, faculty, and community members. The petitions piqued my interest and sent me on a journey where I caught a glimpse of what it might be like to be a Black student at UVA in the 1950s and 1960s, during the early years of desegregation. My encounter with this collection made me want to amplify the lived experiences documented in these papers and to highlight these students who endured so much pain at our University yet ultimately became successful in their careers.

Folder of University Theatre boycott petitions

The folder of petitions from the Papers of Dr. Allison Burnett (MSS 16656) signed by UVA student and faculty and Charlottesville citizens pledging to boycott the University Theater.

 

Segregation, then Separate but Equal at UVA In October 1959, Edgar F. Shannon became President of the University of Virginia following the retirement of President Colgate Darden. Darden’s administration presided over the University in the tumultuous years following the 1954 United States Supreme Court ruling against segregation in schools. As noted in Trailblazing Against Tradition: The Public History of Desegregation at the University of Virginia in 1955-75, Shannon’s administration “inherited and conformed to Darden’s fear that involvement and policies too clearly or loudly spoken would create sharp criticism and angry turbulence throughout the state and in turn it would arrest the growth of the University, while bringing them adverse publicity.” According to local newspaper articles, President Darden supported an equal but separate “system of private education for the whites while maintaining schools for [Black students].”

Newspaper clipping: Darden Asks Areas to Adopt Dual Education System

Segregation, then Separate but Equal at UVA
In October 1959, Edgar F. Shannon became President of the University of Virginia following the retirement of President Colgate Darden. Darden’s administration presided over the University in the tumultuous years following the 1954 United States Supreme Court ruling against segregation in schools. As noted in Trailblazing Against Tradition: The Public History of Desegregation at the University of Virginia in 1955-75, Shannon’s administration “inherited and conformed to Darden’s fear that involvement and policies too clearly or loudly spoken would create sharp criticism and angry turbulence throughout the state and in turn it would arrest the growth of the University, while bringing them adverse publicity.”[1] According to local newspaper articles, President Darden supported an equal but separate “system of private education for the whites while maintaining schools for [Black students].”[2]

At first, Shannon—like Darden—did not support the activities of the civil rights movement at the University. In 1959, President Shannon corresponded with William L. Duren, Jr., Dean of the College of Arts and Sciences, about the University admissions policy, explaining: “At present we are prevented from admitting a [Black student] to the College solely because he is a [Black student].”

He closed this letter, admitting, “I feel that I am not empowered to admit a qualified [Black student] without further instruction from the Board.”[3]

Typed letter from Edgar Shannon to Dean of the College of Arts and Sciences William Duren, November 19, 1959.

Letter from Edgar Shannon to Dean of the College of Arts and Sciences William Duren, November 19, 1959.

Integration at the University

The University’s admissions policy made it very difficult for Black students to attend any part of the University, especially the College of Arts and Sciences. Gregory Hayes Swanson LL. B, A.B., won a lawsuit against the University for admission and became the first Black student to attend UVA in 1950. As noted by Encyclopedia Virginia, although Swanson’s legal victory allowed him admittance to the law school, his time at the University was both separate and unequal:

“Swanson was not permitted to partake in all aspects of university life. He was barred from living on Grounds …and social activities were not open to him. When he wrote to university president Colgate Darden and asked if he could attend any of the “private” dance societies that were, in Swanson’s words, “an integral part of the activity of the University,” he was denied the right. Darden’s response was that the dance societies as well as other organizations were “private” and therefore open only to members. According to University of Virginia Research Archivist, Ervin L. Jordan Jr., Swanson left the school after completing only one year “due to … an overwhelming climate of racial hostility and harassment.”

Gregory H. Swanson consults with Assistant Law Dean Charles Woltz after registration at UVA on Sept. 15, 1950. University of Virginia Visual History Collection, Small Special Collections Library.

As Shannon’s term as president began in 1959 and 1960, Black students endured similar racial slurs and barriers that Swanson experienced a decade earlier. Some Black students left the University in frustration while others were determined to pursue change. Our look at the University Theatre petition highlights the activism of three Black students:

Amos Leroy “Roy” Willis

Amos Leroy “Roy” Willis challenged the University’s policy and was quietly admitted into the College of Arts in Sciences in 1960; he also was the first Black student to live on the Lawn (1961-62). He graduated with a B.S. in Chemistry from the University of Virginia and an MBA from Harvard University. He is currently the CEO of Roy Willis and Associates Inc., a California-based real estate development consulting firm that is deeply intertwined with social justice programs.

Dr. Wesley L. Harris

Dr. Wesley L. Harris (1941-present) graduated from the University of Virginia in 1964 with a bachelor’s degree in Aerospace Engineering. He was the first man—Black or white—to complete the newly established Engineering Honors Program; the first Black student to join the Jefferson Literary & Debating Society; and the second Black student to live on the Lawn in 1964. Following UVA, Harris attended Princeton University, graduating with a master’s degree in Aerospace and Mechanical Sciences in 1966, and completed a doctorate in 1968. He is an American physicist currently the C.S. Draper Professor of Aeronautics and Astronautics at Massachusetts Institute of Technology and has been awarded honorary doctorates by Milwaukee School of Engineering, Lane College and Old Dominion University.

Dr. Virginius Bray Thornton III (1934-2015) was the first Black graduate student to enroll in a doctoral program in History at the University; he was also a civil rights leader who, in 1960 led 140 students in a sit-down strike at the segregated Petersburg Public Library and, in 1961, led the protest at UVA’s University Theater. Dr. Thornton was a professor for over 30 years at the Massachusetts Bay Community College where he taught American, Black, and Women’s History.

 

Student Activists

Willis, Harris, and Thornton were active in the Charlottesville Albemarle Virginia Council on Human Relations, which promoted interracial equality in Charlottesville and the University. Harris was Council chair and invited Dr. Martin Luther King Jr. to speak at Old Cabell Hall to an audience of 900 people in 1963. As activists both at the University and in the Charlottesville community, they picketed local establishments including the University Theater, Buddy’s Restaurant, and the Holiday Inn because these businesses refused to admit Black people.

Virginius Thornton picketing in front of the University Theater in March 1961.

The 1961 incident that prompted petitions urging the Boycott of UVA’s University Theatre are documented in Thomas M. Hanna’s 2007 thesis: “Shut It Down, Open It Up: A History of the New Left at the University of Virginia, Charlottesville”:

“On March 1, 1961, four black students, supported by twenty-five white students, faculty members, including Dr. Allison L. Burnett, an assistant professor of biology, attempted to buy tickets from the University Theatre. They were denied entrance by theatre manager, John W. Kase, who told the group that he could not admit them under state law because the theatre had no balcony to allow for segregation.”

Petitions signed by UVA faculty committing to boycott the University Theater for refusing to admit Black students in March 1961. The first two signatures on the petition are from Thomas T. Hammond and Paul M. Gaston, long-serving UVA History professors and civil rights activists in Charlottesville.

The attempted integration of the theatre outraged the editor-in-chief Junius R. Fishburne of the University of Virginia student newspaper, The Cavalier Daily. Fishburne unwisely used his editorial power to attack the activists and their attempts to integrate the theatre; according to “Shut It Down, Open It Up,” the editorial only publicized the incident and prompted an inundation of letters for and against segregation:

“The student-faculty group began a petition calling for a boycott of the University Theatre until it opened its doors to Black students. Spurred on by Burnett, the petition garnered over 600 signatures by April 14 and was headed by Professor Dumas Malone, the Thomas Jefferson Scholar at the University. The petition was even sent to United States Attorney General Robert F. Kennedy, an alumnus of the university law school, for his signature, but it is unclear if he ever received or responded to it.”

The campaign to integrate the Theatre languished as its management refused the activists’ demand and student interest in the boycott declined. Concerned students and faculty members turned to the University for recognition of the Jefferson Chapter of the Virginia Council on Human Relations. During the next two years, these activists joined with the city to begin a campaign for comprehensive desegregation of Charlottesville’s businesses and public accommodations.

Informal black and white photograph

Young Paul Gaston in his office

UVA Faculty Activists: Paul M. Gaston and Thomas Taylor Hammond
The petition against the University theater was signed by Paul M. Gaston, a Professor of History at the University of Virginia for 40 years (1957-1997), who studied the history of the American South as well as American Civil Rights. As a former President of the Southern Regional Council, he was well known in the Charlottesville area during the 1960s for his Civil Rights activism. Born in Fairhope, Alabama, he arrived in Charlottesville in the fall of 1957 as a junior instructor of history at UVA. He was involved in several demonstrations, most famously the 1963 sit-ins at Buddy’s Restaurant, which is remembered as one of the pivotal events leading to the desegregation of the Charlottesville area. Gaston published several books and articles on Civil Rights and affirmative action, as well as the history of the United States South. He died on June 14, 2019.

The petition against the University Theater was also signed by Thomas Taylor Hammond (1920-1993), a distinguished professor of history emeritus of the University of Virginia (1949-1991), who specialized in Russian and Slavic studies and was an active civil rights advocate. Encouraged by University of Virginia scholar, Dumas Malone, Hammond took the teaching position at the University of Virginia and for a period of 42 years, taught courses on Soviet history and Soviet foreign policy. According to the Papers of Thomas T. Hammond finding aid, “Hammond was a force for advancing racial integration” during the civil rights period in the 1950’s and 1960’s in Charlottesville, Virginia.”

Thomas Taylor Hammond

With Paul Gaston, Hammond founded the Martin Luther King Chapter of the Council on Human Relations to recruit Black students and faculty and to eliminate discrimination. Hammond also served as president of the Charlottesville Chapter of the Council on Human Relations and as a member of the Executive Committee of the local branch of the NAACP, promoting social justice in local schools, parks, and other facilities. Thomas Hammond died on February 11, 1993.

Citations:
[1] http://xroads.virginia.edu/~ug03/omara-alwala/Harrison/uvasixties.html

[2] President Papers (RG-2/1/2.641). Subseries 1 Box 15. Albert and Shirley Small Special Collections Library, University of Virginia

[3] President Papers (RG-2/1/2.641). Subseries 1 Box 5. Albert and Shirley Small Special Collections Library, University of Virginia

Additional Sources: 
Papers of Dr. Allison Burnett Civil Rights (MSS 16656). Small Special Collections Library, University of Virginia Library.

President Papers RG-2/1/2.641 Subseries 1 Albert and Shirley Small Special Collections Library University of Virginia.

Hanna, Thomas M. “Shut It Down, Open It Up: A History of the New Left at the
University of Virginia, Charlottesville” Thesis Virginia Commonwealth University 2007

 

“An Epoch of Change. A Timeline of the University 1955-1975. The Sixties”

“The Road to Desegregation: The University in the 1960’s” Jackson, NAACP, and Swanson.

Addison, Dan “First on the Lawn: University Honors Roy Willis” Virginia Magazine, University of Virginia Alumni Association.

“Wesley L. Harris” Wikipedia.

“Paul M. Gaston.” Wikipedia.

“In Memoriam: Historian Paul Gaston, Early Civil Rights Activist” UVA Today. June 18, 2019

A Guide to the papers of Thomas T. Hammond. Virginia Heritage.

“Thomas Taylor Hammond” Wikidata.

Keeping Score: The 1981-1982 Virginia Cavaliers Men’s Basketball Team

Posted on by
Reply

We are very excited to share some photographs of the 1981-1982 Virginia Cavaliers Men’s basketball team transferred from the University’s Athletic department and now housed in our Small Special Collections Library. This blog post was contributed by Ellen Welch (Manuscripts and Archives Processor at the Small Special Collections Library) and her husband, Peter Welch (University of Virginia Library Information Technology Department). Both Ellen and Peter are longtime fans of UVA basketball and have attended games since the 1970s!

A contact sheet of black and white photographs from the basketball game.

A contact sheet of photographs from the December 2, 1981 UVA game against Randolph-Macon College in Ashland, Virginia. There are thousands of photographs of UVA sports, events, and life from 1965 – 1973 in the photographic files of University photographer Dave Skinner / University of Virginia Printing Services Photograph File and Index (RG-5/7/2.762).

The 1981–82 University of Virginia Cavaliers Men’s basketball team—members of the Division 1 ACC (Atlantic Coast Conference)—held the top seed in the Mideast Region of the 48-team NCAA Tournament (National Collegiate Athletic Association) and made it to the Sweet Sixteen until they were upset by just two points, losing to the University of Alabama-Birmingham (UAB). The Mideast bracket followed with UAB losing to Louisville 75-68 and Georgetown beating Louisville 50-46. In the finals of the tournament, Georgetown lost 63-62 against UVA’s longtime rival, Dean Smith’s University of North Carolina Tar Heels. Many basketball players who later rose to national prominence were introduced that year, including UVA’s Ralph Sampson, who played for the University from 1979-1983 before going professional in the National Basketball Association (NBA); North Carolina Tar Heel and Los Angeles Laker James Worthy (“Big Game James”); Sam Perkins; and one of the greatest athletes of all time, Michael Jordan.

In the 1981-82 NCAA tournament, Curry Kirkpatrick’s article “Sweet 16 and the 32 Who Missed” describes Virginia’s win over Tennessee to get into the round of sixteen:

…Give the Cavaliers a D—D for the desire of Othell Wilson, who played on one leg and with one painful thigh bruise, and D for the determination of Ricky Stokes, who drilled the two winning free throws in Virginia’s 54-51 escape in Indianapolis from the mechanical clutches of Tennessee. Oh yes, and add another D for Ralph Sampson’s defense on Dale Ellis, who shot up the Cavaliers until Sampson shut him down. Jeff Jones suggested the move in the huddle and what it did was disrupt the Tennessee tempo—”He made Dale pull the string,” said Vol Coach Don DeVoe—wipe out a 10-point deficit and give control of the game to the Cavs. …Four straight Sampson buckets, a 51-51 tie and shortly a Virginia freeze. Stokes got a high-five from Wilson just before he went to the line for his crucial free throws.

Ricky Stokes (who clocked in at a height of 5’ 10) said, “Ralph and I have the same initials, I can use his monogrammed handkerchiefs, but not his shirts.” Ralph Sampson was the tallest player on the team (7′ 4).

The 1981-82 team had several freshman recruits—including Jimmy Miller, Tim Mullen, Dan Merrifield, and Kenny Johnson—because Jeff Lamp, Lee Raker, and Terry Gates had graduated. Mullen and Miller were solid role players for the next four years. The surprise player that season was walk-on Kenton Edelin (#30) who played good defense off the bench as a backup forward and center behind basketball star Sampson. Edelin went on to be a good role player the next two years and eventually played in the NBA. Jeff Jones was the starting point guard with Ricky Stokes backing him up and Othell Wilson was the other starting guard. They all played good defense and good team basketball. Tim Mullen started every game that year as a freshman. Craig Robinson was the other starter at forward. They won 30 games but had a disappointing loss in the NCAA tournament to UAB in the 2nd round. They had to play UAB on their home court at Birmingham so that didn’t help. Ralph Sampson averaged 15 points per game that season, which is high scoring, but only taps the potential for a guy who could dominate the game. He scored up to 30 points when he played in the NBA. Sampson declared for the NBA draft after the 1981-1982 season but ultimately decided to return for one more season with the Cavaliers. His final season was the last before the institution of the shot clock rule which kept teams from unfairly holding the ball until the last second of the game. The 3-point shot was also introduced that year in ACC games. The next year—their first year after Sampson had graduated—UVA made it to the Final Four. Go figure? Great things were to come for the Virginia Cavaliers, particularly winning the NCAA tournament in 2019 under coach Tony Bennett.

Black and white action shot photographs from contact sheet of Othell Wilson and Jim Miller shooting baskets in the game.

Left: Othell Wilson (#11) goes for a dunk with freshman forward Jim Miller(#4) assisting on the shot. Right: Wilson makes another shot. Two points! From the University of Virginia Printing Services Photograph File and Index (RG-5/7/2.762).

Shown here are scenes from a regular season game on December 2, 1981 where the UVA Wahoos (formally called the Cavaliers, but familiarly called the “Wahoos” or “Hoos”) defeated Randolph-Macon in Ashland, Virginia 82-50. The Cavaliers were coached by Terry Holland with assistant coaches Craig Littlepage and Jim Larranaga. It was star player Ralph Sampson’s sophomore year although he was not in the lineup for this game. High scorers of the 1981-82 season were Ralph Sampson (15.8 points per game), Othell Wilson (11.4), Craig Robinson (9.7), and Jeff Jones (8.2). Jeff Jones was a prolific passer and had 598 assists.

The team members consisted of:

  • Number 4 Jim Miller, forward 6’8 Freshman
  • Number 10 Craig Robinson, forward 6’8 Junior
  • Number 11 Othell Wilson, guard 6’0 Sophomore
  • Number 12 Dean Carpenter, forward/center 6’9 Senior
  • Number 14 Ricky Stokes, guard 5’10 Sophomore
  • Number 21 Jim Runcie, guard 6’1 Freshman
  • Number 24 Jeff Jones, point guard and team captain 6’4 Senior
  • Number 30 Kenton Edelin, forward 6’7 Sophomore
  • Number 32 Doug Newburg, guard 6’2 Junior
  • Number 33 Kenny Johnson, guard 6’0 Freshman
  • Number 42 Peter MacBeth, forward 6’9 Junior
  • Number 45 Tim Mullen, guard, forward 6’5 Freshman
  • Number 51 Dan Merrifield, forward 6’6 Freshman
  • Number 55 Ralph Sampson, center 7’4 Junior

UVA Basketball History:

Informal portrait of Pop Lannigan in coat outdoors.

Henry “Pop” Lannigan. Image courtesy of George Seitz.

Henry “Pop” Lannigan started the University of Virginia basketball program in 1905 and had a successful season until his death in 1930. He accumulated a dominant overall record of 254–95 (.728 winning percentage) over twenty-four seasons as the UVA head coach.

 

 

 

 

 

 

Portrait of Gus Tebell in Virginia sweater.

Gustave “Gus” Kenneth Tebell. University of Virginia Visual History Collection (prints00568).

Gustave “Gus” Kenneth Tebell was the coach from 1930 to 1951, achieving his first championship in just his second year. During his tenure, he compiled a 240–190 record, including a National Invitation Tournament berth in 1941.

After a series of coaches with more losses than wins, the Cavalier regained success under Terry Holland who began coaching in 1974. He had a winning record of 326–173. His tenure at Virginia (through 1990) also included 1981 and 1984 Final Four appearances, a 1980 National Invitation Tournament championship, Virginia’s first of three ACC Tournament championships (1976), and two ACC Coach of the Year awards. In addition to all-star Ralph Sampson, there were many great basketball players during Coach Holland’s career, including brothers Ricky and Bobby Stokes, Barry Parkhill, Marc Iaveroni, Lee Raker, John Crotty, Wally Walker, Jeff Lamp, and many others.

Black and white photograph of Coach Terry Holland and other coaches and players sitting on bench.

Coach Terry Holland (second to the left) with the Virginia Cavaliers coaching staff at the Randolph-Macon College game, December 2, 1981.

Coach Tony Bennett became head basketball coach at UVA in 2009 and led the Cavaliers to their first NCAA Tournament Championship in 2019. Bennett came to Charlottesville after spending the previous three seasons as the head coach at Washington State, where he was the 2007 National Coach of the Year. Bennett was named one of the 2011 Summit League’s (formerly the Mid-Continent Conference) Top 30 Distinguished Contributors for the league’s first 30 years at the Division I level. In January of 2016, Bennett was part of the Summitt League’s inaugural Hall of Fame class.  Bennett is a three-time recipient of the Henry Iba Award, two-time Naismith College Coach of the Year, two-time AP Coach of the Year, and four-time ACC Coach of the Year. He was named to a list of the World’s 50 Greatest Leaders by Fortune magazine. By 2019, Bennett was a three-time National Coach of the Year. This year, he enters his 13th year as the Dean and Markel Families Men’s Head Basketball Coach at the University of Virginia. As of the 2021-22 season, Virginia has had ten consecutive winning conference seasons, the longest active streak among ACC programs.

Photograph of Tony Bennett with championship game basketball net.

Tony Bennett, Dean and Markel Families Men’s Basketball Head Coach. (Photo by Matt Riley, UVA Athletics)

Tonight—November 9, 2021— the Virginia Cavaliers Men’s basketball team opens their season with a game against Navy at John Paul Jones Arena. We hope to see you there!

Sources:

“Ala-Birmingham, Louisville get by Sampson, Breuer” Reading Eagle. (Pennsylvania). Associated Press. March 19, 1982. p. 24.

1981–82 Virginia Cavaliers men’s basketball team, Wikipedia. Retrieved 9/27/2021.

Martin, Steve, “UAB Blazers slay giant Virginia”. Tuscaloosa News. (Alabama). March 19, 1982. p. 12.

 Wilson, Austin,  “UAB stuns Virginia with 68-66 triumph”. Free Lance-Star. Fredericksburg, Virginia. Associated Press. March 19, 1982, p. 10

Jeff Jones Basketball, Wikipedia. Retrieved 9/28/2021.

Wysong, David, “The Game Michael Jordan Changed Everyone’s Perception of Him” Tweet and Facebook, March 29, 2020

Teel, David, “Victory over UNC elevates UVA’s Bennett into rare company“. Richmond Times-Dispatch, February 13, 2021. Note that the article mentions it was the second-longest at the time, before Duke failed to achieve a winning record in that season

Tony Bennett, Dean and Markel Families Men’s Head Basketball Coach. Virginia Sports.

Payne, Terrence, “Tony Bennett signs a seven-year deal with Virginia.” NBC Sports Jun 3, 2014.

Tales from Under Grounds III: Drinking and Gambling

Posted on by
1

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

***

Matthew Parker, First-Year Student

Matthew Parker. Photograph by Sanjay Suchak, November 17, 2015.

Matthew Parker. Photograph by Sanjay Suchak, November 17, 2015.

Alcohol and Parties at the University of Virginia

Drinking has been a part of the social scene at the University of Virginia since classes began for students in 1825. Each year new students arrive at the University of Virginia ready to learn, and party. Some believe throughout the history of the University of Virginia that drinking has been a problem and has injured its reputation. However, as shown in one of the newspaper clippings, the students of the University respect their own social culture and do not believe in the University’s infamous “drinking problem.”

Drinking, as shown in this exhibition, has both promoted and hindered the development of the University. The issue of drinking here at U.Va. has caused problems with student conduct, but also has been a persuasive promoter of the University to younger generations. From knowledge of the past, it seems certain drinking will remain a part of the University of Virginia and the current student social environment.

Journal of the Chairman of the Faculty, 1837. (RG-19/1/2.041) University of Virginia Archives The Chairman of the Faculty takes note of an event that occurred on April 4th, 1837, which involves the non-fatal shooting of a University of Virginia student. The report states a heavily intoxicated student shot another fellow student inside his dormitory. The investigation of the event unfolds throughout the following weeks, and the Chairman of the Faculty writes down every aspect of the event as it becomes uncovered. On April 11th, the investigation into the shooting found all available evidence, and the Board of Visitors penalized the students involved.

Journal of the Chairman of the Faculty, 1837. (RG-19/1/2.041)
University of Virginia Archives
The Chairman of the Faculty takes note of an event that occurred on April 4th, 1837, which involves the non-fatal shooting of a University of Virginia student. The report states a heavily intoxicated student shot another fellow student inside his dormitory. The investigation of the event unfolds throughout the following weeks, and the Chairman of the Faculty writes down every aspect of the event as it becomes uncovered. On April 11th, the investigation into the shooting found all available evidence, and the Board of Visitors penalized the students involved. (Photograph by Sanjay Suchak, November 17, 2015)

“Guys Drinking.” Hot Foot Society, 1903. (RG-23/46/1.971) University of Virginia Visual History Collection This photograph shows two University of Virginia students drinking alcohol straight from handles. These students were members of a society at the University of Virginia, formally known as the Hot Foot Society. The Hot Foot Society, which began in 1902, was known for its heavy participation in drinking. After their first suspension in 1908, the Hot Foot Society decided to disband in 1911, following a prank which resulted in the expulsion of four members and one-year suspensions for another four members. In 1913, the society reincarnated itself into the IMP Society, which remains active today.

“Guys Drinking.” Hot Foot Society, 1903. (RG-23/46/1.971)
University of Virginia Visual History Collection
This photograph shows two University of Virginia students drinking alcohol straight from handles. These students were members of a society at the University of Virginia, formally known as the Hot Foot Society. The Hot Foot Society, which began in 1902, was known for its heavy participation in drinking. After their first suspension in 1908, the Hot Foot Society decided to disband in 1911, following a prank which resulted in the expulsion of four members and one-year suspensions for another four members. In 1913, the society reincarnated itself into the IMP Society, which remains active today. (Image by Digital Production Services)

Mark Illingworth. Easters T-shirt Contest Entry, 1982. (RG-23/17/3.881) University of Virginia Archives The logo shown above is one of many entries for the Easters T-shirt Contest in 1982. Easters started as a formal dance in the late 19th century, but slowly transitioned into a massive party at the University of Virginia that reached its prime in the 1970s. During the 1970s, the Easters party took place on the rugby field beside Rugby Road, known as Mad Bowl. Thousands of students would file into the field and drink. All the surrounding fraternities would participate in the party and supply a large amount of the alcohol. Many of the logos for the t-shirt contest contain depictions of alcohol in some fashion. The winning entry, however, did not depict alcohol in the illustration.

Mark Illingworth. Easters T-shirt Contest Entry, 1982. (RG-23/17/3.881)
University of Virginia Archives
The logo shown above is one of many entries for the Easters T-shirt Contest in 1982. Easters started as a formal dance in the late 19th century, but slowly transitioned into a massive party at the University of Virginia that reached its prime in the 1970s. During the 1970s, the Easters party took place on the rugby field beside Rugby Road, known as Mad Bowl. Thousands of students would file into the field and drink. All the surrounding fraternities would participate in the party and supply a large amount of the alcohol. Many of the logos for the t-shirt contest contain depictions of alcohol in some fashion. The winning entry, however, did not depict alcohol in the illustration. (Image by Penny White)

***

Grant Gossage, Second-Year Student

Grant Gossage. Photograph by Sanjay Suchak, November 17, 2015.

Grant Gossage. Photograph by Sanjay Suchak, November 17, 2015.

Mrs. John King Van Renssalaer. The Devil’s Picture Book: A History of Playing Cards. New York, Dodd, Mead and Company, ca. 1890. (Z5481.V35 1890) Gift of the Stone family A storied history of playing cards presented in this book by Van Renssalaer created an aura around the act of gambling in the 19th century and beyond. The devil’s picture book depicts 18th century French, English, American, and German playing cards as artful possessions of the aristocracy. Students at the University of Virginia in the 19th century were mainly southern gentry. They wore over-the-top clothing until the uniform law. They fought to preserve their honor. They drank and chased women to impress. They gambled to reveal their wealth and to take power from others. The young men venerated the noble past of gambling that the images and text in this book exhibit. (Image by Penny White)

Mrs. John King Van Renssalaer. The Devil’s Picture Book: A History of Playing Cards. New York, Dodd, Mead and Company, ca. 1890. (Z5481.V35 1890)
Gift of the Stone family
A storied history of playing cards presented in this book by Van Renssalaer created an aura around the act of gambling in the 19th century and beyond. The devil’s picture book depicts 18th century French, English, American, and German playing cards as artful possessions of the aristocracy. Students at the University of Virginia in the 19th century were mainly southern gentry. They wore over-the-top clothing until the uniform law. They fought to preserve their honor. They drank and chased women to impress. They gambled to reveal their wealth and to take power from others. The young men venerated the noble past of gambling that the images and text in this book exhibit. (Image by Penny White)

Fauntleroy playing cards 29, Cincinnati, U.S. Playing Card Company, ca. 1890-1912 (PS1214. L554 1886) These miniature Fauntleroy 29 playing cards provide the closest example of those that students at the University of Virginia, such as William Saulsbury, would have used to gamble in locked Lawn rooms around the late-19th to early-20th century. The cards immediately draw the eyes of a viewer as the focal point of this exhibition. They are in a single word, classy. Stars and figurines adorn the bold suits on the one side, while red prints of socialites cover the other. Today, computers and cellphones offer a way for people to gamble virtually across miles of space. When these Fauntleroy cards were in circulation, Saulsbury and other university students gathered around a table, stared each other in the face, and went about taking money.

Fauntleroy playing cards 29, Cincinnati, U.S. Playing Card Company, ca. 1890-1912 (PS1214. L554 1886), (Foreground).
These miniature Fauntleroy 29 playing cards provide the closest example of those that students at the University of Virginia, such as William Saulsbury, would have used to gamble in locked Lawn rooms around the late-19th to early-20th century. The cards immediately draw the eyes of a viewer as the focal point of this exhibition. They are in a single word, classy. Stars and figurines adorn the bold suits on the one side, while red prints of socialites cover the other. Today, computers and cellphones offer a way for people to gamble virtually across miles of space. When these Fauntleroy cards were in circulation, Saulsbury and other university students gathered around a table, stared each other in the face, and went about taking money. (Photograph by Sanjay Suchak, November 17, 2015)

M.L. Weems. God’s revenge against gambling: Exemplified in the miserable lives and untimely deaths of a number of persons of both sexes, who had sacrificed their health, wealth, and honour, at gaming tables. Philadelphia, ca. 1822. (A1822.W43) Around 1822, the former rector of Mount Vernon Parish, M.L. Weems wrote about the deaths of more than six individuals, which he believed was the result of gambling. His book condemns an immoral generation of gamblers as sinners before God and criminals in society. Showing a measure of empathy, Weems seeks to dissuade innocent, young people, including his son for whom he addresses the book, from falling for this temptation at gaming tables. Past the frontispiece, which depicts a deformed man on bended knee cursing cards and dice, Weems writes, “I conjure my boy to shun the gambler’s accursed trade; for its, ‘way is the way to hell, going down in the chambers of death.” (Image by Petrina Jackson)

M.L. Weems. God’s revenge against gambling: Exemplified in the miserable lives and untimely deaths of a number of persons of both sexes, who had sacrificed their health, wealth, and honour, at gaming tables. Philadelphia, ca. 1822. (A1822.W43)
Around 1822, the former rector of Mount Vernon Parish, M.L. Weems wrote about the deaths of more than six individuals, which he believed was the result of gambling. His book condemns an immoral generation of gamblers as sinners before God and criminals in society. Showing a measure of empathy, Weems seeks to dissuade innocent, young people, including his son for whom he addresses the book, from falling for this temptation at gaming tables. Past the frontispiece, which depicts a deformed man on bended knee cursing cards and dice, Weems writes, “I conjure my boy to shun the gambler’s accursed trade; for its, ‘way is the way to hell, going down in the chambers of death.” (Image by Penny White)

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

Posted on by
Reply

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

***

Carolyn Ours, Second-Year Student

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

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 12th century to the 21st 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.

“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)

“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)

***

Tallulah Tepper, First-Year Student

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

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)

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.

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)

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 by
Reply

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.

***

Mary Grace Milam, First-Year Student

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

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 19th 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.

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.

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.

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)

***

Joseph Tran, First-Year Student

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

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

Consumer Use of Artificial Light circa 20th 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 for 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 lighthouse in that they did not revolve around with mirrors and lenses.

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. But, 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 collection because it shows how creative manipulation of light can be used even in small things to produce interesting effects.

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 by
3

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

***

Turner Labrie, First-Year Student

Turner Labrie

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 in an ancillary role. Many supplies were shipped through its 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 Maine were originally from Virginia.

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 US Army at the outbreak of the Spanish American War. These shooters would then be shipped off to various camps throughout the country for integration into the army. From there, they would be sent to participate in the fighting against Spanish forces.

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.

***

Max Novick, First-Year Student

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

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, but advantageous, 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, like many propaganda posters of the time, and to deflate the image of the enemy.

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.

 

 ***

Emily Templin, First-Year Student

Emily Templin

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

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.

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.

***

Timothy Rodriguez, First-Year Student

Timothy Rodriguez

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 by
Reply

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

***

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)

***

Abby Herz, First-Year Student

Abby Herz

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)

***

Cassidy Faught, First-Year Student

Cassidy Faught

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)

 ***

Ford Slater, First-Year Student

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

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

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)

 

Baseball Scorecard

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 by
Reply

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.

***

Regina Chung, First-Year Student

Regina Chung

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)

 

TJ Newsclipping

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)

***

Lily Davis

Lily Davis

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

Nathaniel Hawthorne

 Nathaniel Hawthorne (1804-1864) was a 19th-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 19th century New England. Centuries later, Hawthorne is still considered a great American author.

Title page of The Scarlet Letter

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)

 ***

Mary Elder, First-Year Student

Mary Elder

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 19th-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.

Toy Catalogue

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 Game

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)

***

Grace Kim, First-Year Student

Grace Kim

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.

Illustrations from Alice in Wonderland

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 Tenniel to Ponny

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)