5 10 116 https://collections.americanantiquarian.org/earlyamericannewsmedia/files/original/71a6ddefb49bad045d8637eb6c58687e.jpg 45588446dacbb3bd6bec260f84d85613 https://collections.americanantiquarian.org/earlyamericannewsmedia/files/original/f3759928d9688f793f20acf9eaa54ee2.jpg ebb0a0beb0b9ea89cc66071737f9ea81 https://collections.americanantiquarian.org/earlyamericannewsmedia/files/original/1588b8866c94d344ee5979b0c610b580.jpg 325add146a58f219ebbdf1c6253b8850 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Type The nature or genre of the resource Stereographs Title A name given to the resource Civil War Stereographs Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. "Gibson's Battery of Horse Artillery, Near Fair Oaks"; "Engineer Corps Making Corduroy Roads"; and "Fugitive Negros Fording the Rappahannock, Fleeing from Jackson's Army" Date A point or period of time associated with an event in the lifecycle of the resource 1861-1900? Format The file format, physical medium, or dimensions of the resource Mount 12 x 18 cm. or smaller (stereograph format) Source A related resource from which the described resource is derived <a href="http://catalog.mwa.org/vwebv/holdingsInfo?bibId=509197">AAS Catalog Record</a> <a href="http://gigi.mwa.org/netpub/server.np?quickfind=509197&sorton=filename&catalog=catalog&site=public&template=results.np">View more Civil War stereographs</a> Description An account of the resource Stereography, an early form of three-dimensional photography, was a major vehicle for popular education and entertainment in the latter part of the nineteenth century. Otherwise known as the stereogram, stereopticon, or stereo view, the stereograph was a nineteenth-century form of in-home entertainment often used in social settings. Placed on cardboard were two almost identical photographs, side by side, to be viewed with a stereoscope. When viewed through a stereoscope, the photographs combined and appeared as one three-dimensional picture, an awe-inspiring illusion for anyone during that time. The author Oliver Wendell Holmes (1809-94), who invented an affordable stereo viewer for the American market, wrote in the Atlantic Monthly of June 1859 that “the first effect of looking at a good photograph through the stereoscope is a surprise such as no painting ever produced. The mind feels its way into the very depths of the picture. The scraggy branches of a tree in the foreground run out at us as if they would scratch our eyes out. The elbow of a figure stands forth as to make us almost uncomfortable.” Stereography, from the outset, was a commercial success. Its affordability and availability made it a widespread phenomenon spanning sixty years. Many stereograph cards displayed views of faraway lands, reproducing the travel experience, through photography, for the general population. It also, unsurprisingly, became a journalistic tool, bringing parades, disasters, political events, and wars into the home. Though much of the stereographic documentation of the Civil War was produced after the war, some was also released during the conflict. The three stereograph cards pictured here give a sense of what information those on the home front—particularly in the North—would have gathered about the war through this medium. The first, labeled “Gibson’s Battery of Horse Artillery, near Fair Oaks,” shows an army apparently on the move. The second, “Engineer Corps Making Corduroy Roads,” depicts the strategy and engineering behind the war (corduroy roads were made of logs to help make muddy and swampy roads passable). The last, “Fugitive Negroes Fording the Rappahannock, Fleeing from Jackson’s Army,” speaks to both the causes of the war and its effects on the civilian and enslaved populations. You can view more Civil War stereographs from the AAS collections <a href="http://gigi.mwa.org/netpub/server.np?quickfind=509197&sorton=filename&catalog=catalog&site=public&template=results.np">here</a>.  Photography Stereographs https://collections.americanantiquarian.org/earlyamericannewsmedia/files/original/5905be17861382267228c73d4ba62e9c.jpg 2abdf761940d799e1ef97672116e0ad3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Type The nature or genre of the resource Lithograph Creator An entity primarily responsible for making the resource Childs & Inman Title A name given to the resource "Look Upon This Picture and On This." Intemperance & Temperance. Date A point or period of time associated with an event in the lifecycle of the resource 1831-1833 Format The file format, physical medium, or dimensions of the resource 31 x 50 cm. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Philadelphia, Pa. Publisher An entity responsible for making the resource available James S. Earle & T. Birch Source A related resource from which the described resource is derived <a href="http://catalog.mwa.org/vwebv/holdingsInfo?bibId=518478">AAS Catalog Record</a> Description An account of the resource Just as the temperance movement harnessed the power of the printed word in <a href="https://collections.americanantiquarian.org/earlyamericannewsmedia/exhibits/show/news-in-antebellum-america/item/96">newspapers</a>, periodicals, tracts, and <a href="https://collections.americanantiquarian.org/earlyamericannewsmedia/exhibits/show/news-in-antebellum-america/item/68">almanacs</a> to spread statistics and facts about the effects of alcohol, it also utilized printed images. Temperance images were pervasive throughout early nineteenth-century publications as a particularly powerful way to convey the message that alcohol was destructive and should be moderated or—as some believed—prohibited for a healthy, functioning society. This circa 1832 <a href="https://collections.americanantiquarian.org/earlyamericannewsmedia/exhibits/show/news-and-the-civil-war/visual-culture-and-the-civil-w">lithograph</a> by Alexander Rider, based on an original sketch by Thomas Birch (1779-1851), illustrates this trend by depicting opposing scenes of temperance and intemperance. Like many images produced by the temperance movement—which co-opted and adapted the “liberty tree” symbol familiar to many—a tree serves as the central emblem of society and liberty. The image shows the effects of temperance and intemperance on society in a single frame, with the tree providing the contrast point between a healthy society and a society approaching ruin. The right side of the tree appears healthy with strong limbs and full foliage. It sits in fertile soil where grass and other healthy trees and flowers flourish. In contrast, the left side of the tree appears dead and barren. Its limbs are broken, and its branches are nearly absent of vegetation. The surrounding ground appears dry and cracked, and nothing is growing. Something (alcohol) is sapping this environment of its vitality and its ability to produce. This metaphor is extended in the renderings of the people and structures of the illustration, and it becomes clear that intemperance is the culprit. On the left, a dilapidated structure hosts boisterous men waving bottles on its porch. One inebriated fellow slumps under a sign featuring a pig, suggesting a correlation between the drinking men and the pigs outside the tavern. A family walks away from what was perhaps their pig farm and livelihood, the father with downcast eyes and ragged clothes, a bottle in his hand. He walks separately from his family, the wife neatly but darkly dressed and the reluctant, shoeless child weeping and rubbing its eyes. In contrast, alcohol appears to be absent on the right side of the illustration. Friends are gathered in small groups, with men and women socializing and eating in the verdant landscape. Across the river, a factory or mill is visible, representing employment and people engaged in fruitful labor. The husband and wife hold hands as they look at each other, and their well-dressed child plays nearby collecting flowers. The absence of alcohol and even the light-colored clothing of the couple suggest that the shadow of intemperance has not fallen on them as it has the family on the left. Temperance has kept this half of society healthy and productive.  Lithograph Temperance https://collections.americanantiquarian.org/earlyamericannewsmedia/files/original/6136c04f4ce82a9c38f19dcd34c3f993.jpg 1f0ecd3728da9823562939d0f6218104 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Type The nature or genre of the resource Map Title A name given to the resource War Telegram Marking Map Date A point or period of time associated with an event in the lifecycle of the resource 1862 Format The file format, physical medium, or dimensions of the resource 84 x 57 cm., on sheet 97 x 64 cm. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Boston, Mass. Publisher An entity responsible for making the resource available L. Prang & Co. Source A related resource from which the described resource is derived <a href="http://catalog.mwa.org/vwebv/holdingsInfo?bibId=513255">AAS Catalog Record</a> <a href="http://gigi.mwa.org/imagearchive/filename/513255_">View larger image</a> Description An account of the resource Maps were one tool people used to make sense of the war and visualize the places where their loved ones were fighting, places most of them had never seen. Though few newspapers outside of the illustrated press carried graphics at this time, many would occasionally provide their readers with simple maps or diagrams. Outside of newspapers, lithography helped to provide more complex maps for public consumption. Louis Prang & Co. of Boston took advantage of both lithography and the immediacy of news provided by the telegraph to create this War Telegram Marking Map. The firm churned these out as quickly as possible for the Northern public to see where the troops were and to follow along and mark the map up as the action happened—this 1862 copy is already the sixth edition. As the map explains, one was to “mark the change of positions of the UNION FORCES in RED PENCIL and the REBEL FORCES in BLUE, on the receipt of EVERY TELEGRAM from the seat of war.” Plenty of room was left for marking, and the pencils, which could be erased with “a little soft bread,” were provided with the map. These “peculiarities combined with extreme cheapness will make this Map a welcome companion to every person interested in the pending struggle of our nation.”  Map https://collections.americanantiquarian.org/earlyamericannewsmedia/files/original/886e3017f2f99f9a43c6a0348f3c0bc7.jpg 16d7078cda13479309cf8a4de7ea2353 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Type The nature or genre of the resource Engraving Creator An entity primarily responsible for making the resource Whipple & Black Title A name given to the resource Anthony Burns Date A point or period of time associated with an event in the lifecycle of the resource 1855 Format The file format, physical medium, or dimensions of the resource Image and text 42 x 32.5 cm., on sheet 52 x 42.5 cm. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Boston, Mass. Publisher An entity responsible for making the resource available R. M. Edwards Source A related resource from which the described resource is derived <a href="http://catalog.mwa.org/vwebv/holdingsInfo?bibId=443957">AAS Catalog Record</a> Description An account of the resource This large broadside, printed by R. M. Edwards of Boston in 1855, features woodcuts portraying scenes from the life of Anthony Burns (1834-62), a former fugitive and then freed slave whose story sparked fierce abolitionist reaction throughout Massachusetts. The large center portrait of Burns is a woodcut engraved by John Andrews after a daguerreotype taken by Whipple & Black. Below the portrait is a facsimile of Burns’s signature. The surrounding scenes, clockwise from the lower left (and not in chronological order), show young Burns being sold at auction; a whipping post with broken shackles and baled cotton; his arrest in Boston; his escape to Boston on shipboard; a field of grain with a bucket, spade, and whip; Burns addressing crowds of eager listeners in the North after he was freed; and at the bottom, a picture of Burns in a Boston jail. The design was copyrighted by Burns in January 1855 and was most likely created to advertise his speaking tour in the North, which helped advance the abolitionist cause and became a source of funding for his own education. The story of Anthony Burns sheds light on the fierce reaction of the North to the Fugitive Slave Act, passed as part of the Compromise of 1850, which stated that any runaway slave found in the North must be returned to his or her owner in the South. On May 24, 1854, escaped slave Anthony Burns was apprehended on the streets of Boston and brought to the courthouse, where he was imprisoned awaiting trial to determine whether he must be returned to his master, Charles F. Suttle, of Alexandria, Virginia. On the evening of May 26, 1854, a mob of both white and black men, armed with a plank as a battering ram and two axes with which to break down the door, attacked the west side of the building in order to free Burns. Worcester, Massachusetts, minister <a href="https://collections.americanantiquarian.org/earlyamericannewsmedia/exhibits/show/news-in-antebellum-america/item/59">Thomas Wentworth Higginson</a> (1823-1911) and another man succeeded in gaining entry, but were quickly forced back outside. Amid the chaos, a shot was fired and a deputy who had been guarding the building was stabbed. He died several minutes later. A group of eleven men, both black and white, were charged with the murder. On June 2, 1854, the judge announced that Burns would be returned to his master. The assembled crowd was outraged, and U.S. marshals and the city police worked for over an hour to clear the crowds from the streets. Later that afternoon, under presidential authority and with a six-pound cannon in tow, a large number of armed forces escorted Burns to a waiting ship at Long Wharf, where he began his journey back to Virginia and to slavery. Tens of thousands of people lined the streets as he did so. Although the rescue attempt of Anthony Burns was unsuccessful, within a year supporters had raised $1,300 to buy his freedom, and Burns returned to Boston. Upon his return to the North, Burns made the rounds as a speaker, telling his story in order to raise money to pay for his education at Oberlin College in Ohio, where he studied for the ministry. This broadside supported that lecture tour and his fundraising efforts. After earning his degree he moved to Upper Canada to serve as a Baptist minister. He died of tuberculosis in St. Catharine’s, Ontario, in 1862 at the age of twenty-eight. Engraving Slavery https://collections.americanantiquarian.org/earlyamericannewsmedia/files/original/18c37edda5087b03e30e9bc669410a4d.jpg 6b1d881b33ba223f69768632b114b0b9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Type The nature or genre of the resource Ambrotype Title A name given to the resource Ambrotype of unidentified soldier in Union uniform Date A point or period of time associated with an event in the lifecycle of the resource 1861-1865? Format The file format, physical medium, or dimensions of the resource 17 x 22 cm. or smaller Source A related resource from which the described resource is derived <a href="http://catalog.mwa.org/vwebv/holdingsInfo?bibId=441214">AAS Catalog Record</a> <a href="https://gigi.mwa.org/imagearchive/filename/606955">View larger image</a> <a href="https://www.americanantiquarian.org/ambrotypes-inventory">View more from AAS's ambrotype collection</a> Description An account of the resource Among the photographic processes available to a widening public and used by Civil War soldiers were ambrotypes. Ambrotypes became popular in the mid-1850s, due in large part to their shorter exposure times (as compared to daguerreotypes), which also made them a good choice for churning out portraits of soldiers. They consist of a collodion image fixed to a glass plate, which, when held up to light, appears negative. To create a positive image, the plate was placed against a black background. Like <a href="https://collections.americanantiquarian.org/earlyamericannewsmedia/exhibits/show/news-and-the-civil-war/item/77">daguerreotypes</a>, ambrotypes are unique objects—there is no negative, so the plate is the photograph. Ambrotype Photography https://collections.americanantiquarian.org/earlyamericannewsmedia/files/original/b2da5a41d3ba1206de84e917adba2ca9.jpg a9827c41e0dee3c863f29a0ea098b1af https://collections.americanantiquarian.org/earlyamericannewsmedia/files/original/9774209754d145b6bd965035b753fd83.JPG ef06c3bd7e2c7010588c71f44d89b283 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Type The nature or genre of the resource Book Creator An entity primarily responsible for making the resource Coffin, Charles Carleton, 1823-1896. Title A name given to the resource My Days and Nights On the Battle-Field Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. My Days and Nights On the Battle-Field. A Book for Boys. Date A point or period of time associated with an event in the lifecycle of the resource 1864 Format The file format, physical medium, or dimensions of the resource 18 cm. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Boston, Mass. Publisher An entity responsible for making the resource available Ticknor and Fields Source A related resource from which the described resource is derived <a href="http://catalog.mwa.org/vwebv/holdingsInfo?bibId=215402">AAS Catalog Record</a> Description An account of the resource A new sense of professional identity as journalists and writers emerged within the brotherhood of battlefield reporters during the American Civil War. More than a few newspaper correspondents imagined and then achieved careers in literature. One of those was <a href="https://collections.americanantiquarian.org/earlyamericannewsmedia/exhibits/show/news-and-the-civil-war/item/84">Charles Carleton Coffin</a> (1823-96), who covered the major battles of the war for the Boston Journal under the penname “Carleton.” Coffin’s celebrity as a war reporter helped him secure book contracts with Ticknor & Fields, a major literary publisher in Boston and the publisher of the leading lights of the American literary renaissance, such as Hawthorne, Emerson, and Thoreau. In the decades leading up to his death in 1896, Coffin published a long list of titles on history, biography, and travel. Perhaps his best-known work was his 1866 Civil War memoir, Four Years of Fighting, later republished in a new edition as The Boys of ’61. Coffin also frequently wrote books for boys and girls, both fiction and nonfiction. This book, My Days and Nights on the Battle-Field: A Book for Boys, appeared in 1864, while war was still raging. The bulk of the book is battle narrative, but the opening chapter is Coffin’s take on “How the Rebellion Came About.” For Coffin, a faithful son of Puritan New England, the root cause of the war was obvious: slavery. In a historical account that reaches back to the frugal, enterprising colonists of Massachusetts and to the indolent, tyrannical tobacco planters of Virginia, Coffin sets the scene for his young readers: “Climate, trade, commerce, common schools, and industry have made the North different from the South; but there was nothing in these to bring on the war,” he writes. “When the slaveholders saw that they had lost their power in Congress to pass laws for the extension of slavery, they determined to secede from the Union. When the North elected a President who declared himself opposed to the extension of slavery, they began the war.”  Book C. C. Coffin https://collections.americanantiquarian.org/earlyamericannewsmedia/files/original/80bd0325f1b8147832f5523840d4c706.JPG e29ebb2e8674f73ab234d6e898124c33 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Type The nature or genre of the resource Broadside Title A name given to the resource Lecture On the War: C. C. Coffin, Esq. Known as "Carleton" of the Boston Journal Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Lecture On the War: C. C. Coffin, Esq. Known as "Carleton" of the Boston Journal, will deliver a Lecture at the Temple, On Wednesday Evening, May 27, at 1-4 before 8 o'clock, In which he will give his own experience as an eye-witness in the principal Battles of the Present War! Date A point or period of time associated with an event in the lifecycle of the resource 1863 Format The file format, physical medium, or dimensions of the resource 29 x 16 cm. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Portsmouth, N.H. Source A related resource from which the described resource is derived <a href="http://catalog.mwa.org/vwebv/holdingsInfo?bibId=208516">AAS Catalog Record</a> Description An account of the resource <a href="https://collections.americanantiquarian.org/earlyamericannewsmedia/exhibits/show/news-and-the-civil-war/item/85">Charles Carleton Coffin</a> (1823-96) was one of a dozen or so battlefield correspondents whose work during the Civil War made them into something new in American journalism: celebrity reporters. Writing under the penname “Carleton” for the Boston Journal, Coffin covered many of the famous battles of the war: Bull Run, Antietam, Fredericksburg, Gettysburg, Petersburg, and many others. He was the ideal writer for a New England audience because he viewed the war through the lens of abolitionism. For him the war was “a great moral convulsion, . . . a mighty conflict of ideas,” as he wrote in his memoirs. It was, quite simply, “the war between Slavery and Freedom.” His reporting was filled with vivid description of the chaos and utter carnage of battle. “How lavish was the expenditure of blood!” he wrote. But he believed that the righteous cause was worth the fearful cost: “The people of America, by example, have shown the world that civil and religious liberty for all, as well as for the few, is of more value than human life.” Coffin’s ability to imbue narratives of “thrilling scenes” with moral meaning helped to make him a popular lecturer as well as writer. In antebellum America the lecture circuit had already become a kind of news medium, especially in the North. This is an advertising flyer for one of Coffin’s wartime lectures in Portsmouth, New Hampshire, in May 1863. Because the Civil War took place on American soil in the age of the railroad, it was possible for battlefield correspondents to travel back home to Boston, New York, Philadelphia, or other Northern cities immediately after a great battle. And they usually did. Through lectures, Civil War correspondents such as C. C. Coffin were able to further build their reputation and fame.  Broadside C. C. Coffin Slavery https://collections.americanantiquarian.org/earlyamericannewsmedia/files/original/c3487813fe37c3b8993f00499a502a2a.jpg 4579bfdbb4513c732c6ae7c8092d1fef Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Type The nature or genre of the resource Serial Creator An entity primarily responsible for making the resource Johnston, David Claypoole, 1799-1865 Title A name given to the resource "An extensively read News paper" Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Scraps, (No. 5,) for the Year 1834 Date A point or period of time associated with an event in the lifecycle of the resource 1834 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Boston, Mass. Publisher An entity responsible for making the resource available D. C. Johnston Source A related resource from which the described resource is derived <a href="http://catalog.mwa.org/vwebv/holdingsInfo?bibId=441301">AAS Catalog Record</a> <a href="https://gigi.mwa.org/imagearchive/filename/441301">View full issue</a> Description An account of the resource In the 1840s and 1850s, thanks to steam-powered and rotary presses, newspaper dimensions were often enormous. The size of the printing presses, their ability to print evenly over a large surface area, and the speed with which they could print thousands of sheets meant that a four-page newspaper—one large sheet, printed on both sides, and folded once—could carry much more news. In the 1850s, with the development of folding and trimming machinery, a single large sheet could be folded twice and formed into an eight-page paper with smaller pages. This comic drawing by the famous cartoonist and satirist <a href="http://www.americanantiquarian.org/Inventories/Johnston/introduction.htm">David Claypoole Johnston</a> (1798-1865), which depicts several men sitting around an enormous newspaper all trying to read it at the same time, lampoons both the growing size of newspapers and the eagerness with which they were consumed.  Serial https://collections.americanantiquarian.org/earlyamericannewsmedia/files/original/8a8d8a94022cc3e8dbda22f97bde6d74.jpg e62e9e3915b43c406cf447b574a58328 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Type The nature or genre of the resource Lithograph Creator An entity primarily responsible for making the resource Prang, Louis, 1824-1909 Title A name given to the resource Bird's Eye View of the Seat of War Date A point or period of time associated with an event in the lifecycle of the resource 1862 Format The file format, physical medium, or dimensions of the resource 40 x 50 cm. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Boston, Mass. Publisher An entity responsible for making the resource available L. Prang & Co. Source A related resource from which the described resource is derived <a href="http://catalog.mwa.org/vwebv/holdingsInfo?bibId=152490">AAS Catalog Record</a> <a href="http://gigi.mwa.org/imagearchive/filename/152490_">View larger image</a> Description An account of the resource Among the visual ways in which people tried to make sense of the Civil War were maps. Maps helped people visualize the places where their loved ones were fighting, places most of them had never seen. Though few newspapers outside of the <a href="https://collections.americanantiquarian.org/earlyamericannewsmedia/exhibits/show/news-and-the-civil-war/the-illustrated-press">illustrated press</a> carried illustrations at this time, many would occasionally provide their readers with simple <a href="https://collections.americanantiquarian.org/earlyamericannewsmedia/exhibits/show/news-and-the-civil-war/item/114">maps or diagrams</a>. Outside of newspapers, lithography helped to provide more complex maps for public consumption. This 1862 lithograph by the Boston firm of Louis Prang & Co. used the popular “birds eye view” format to give an overview of the lay of the land where most of the fighting was taking place at the time, including significant bodies of water and railroads. As the subtitle explains, it shows views of “Washington, Baltimore, Harpers Ferry, Richmond, Manassas Junction, Ft. Monroe, Norfolk Harbor &c. Their R. R. Connections, & the General Surface of the Country in Maryland, Dist. Of Columbia, & Virginia.”  Lithograph https://collections.americanantiquarian.org/earlyamericannewsmedia/files/original/c308c4b38308601b2747e5ea7a12ab0d.jpg 2e51693103d749e6c84977b3e5d5a5ca https://collections.americanantiquarian.org/earlyamericannewsmedia/files/original/7df201fac5ee1d9375a153d2e70659a7.jpg 30e6949fbfb3a0ea540a6a481fbf8f92 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Type The nature or genre of the resource Carte-de-visite album Title A name given to the resource Regimental Album of the 24th Massachusetts Date A point or period of time associated with an event in the lifecycle of the resource 1861 Format The file format, physical medium, or dimensions of the resource 16 x 12 cm. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant United States Source A related resource from which the described resource is derived <a href="http://catalog.mwa.org/vwebv/holdingsInfo?bibId=477709">AAS Catalog Record</a> <a href="https://gigi.mwa.org/imagearchive/filename/477709">View full album</a> Description An account of the resource Although tintypes and <a href="https://collections.americanantiquarian.org/earlyamericannewsmedia/exhibits/show/news-and-the-civil-war/item/86">ambrotypes</a> were both used to capture images of soldiers, by far the most popular form soldier portraits took were cartes-de-visites. Unlike the former two processes, whose glass and metal foundations made them delicate, bulky, and unreproducible, cartes-de-visites were inexpensive albumen paper prints mounted on cardstock, copies of which could easily be handed out and mailed to family and friends. Like <a href="https://collections.americanantiquarian.org/earlyamericannewsmedia/items/browse?tag=Scrapbooks">scrapbooks</a>, cartes-de-visites became a way for soldiers and those at home to record their experiences. The cheapness, portability, and reproducibility of the prints meant that people collected cartes-de-visites not only of their personal loved ones, but also those of celebrities, military officers, and even famous artwork. All of these different types were often compiled into one album, giving a broad sense of how people were consuming and using media to make sense of life and war. Although carte-de-visite albums often featured a mixture of public and private pictures, sometimes they were intended to tell a specific story. The carte-de-visite album here is full of thirty-eight portraits of soldiers and ranking officers primarily from one regiment, the Twenty-Fourth Massachusetts Regiment. Albums of this type were not only mementoes of the soldiers on the front, but also often served as a way to keep a history of a regiment, adding notes of battles and casualties in the album or on the cartes-de-visites. Most portraits in this album are identified on the cartes-de-visites, and some are signed with the autographs of the men depicted. Other images are heavily annotated on the versos with the rank of the man depicted and his fate during wartime. Many photographs were taken in Boston, but photographers from Philadelphia and Beaufort, South Carolina, are also included. The entire album can be viewed <a href="http://gigi.mwa.org/netpub/server.np?quickfind=477709&sorton=filename&catalog=catalog&site=public&template=results.np">here</a>. Carte-de-visite Carte-de-visite album Photography