For the ancient Romans, the Ides functioned as one of three fixed points occurring each month that helped them keep track of the current date in the Roman calendar. The Ides landed around the 13th day in most months, but took place on the 15th day in a few months of the year such as March. The Ides of March is particularly infamous due to its association with the assassination of Julius Caesar in 44 BCE by Roman senators. Marking the end of the Roman Republic, Caesar’s downfall during the Ides of March would be chronicled by Greek-Roman writer Plutarch in his work Parallel Lives, eventually inspiring a number of adaptations and artworks over the centuries depicting this historical event.
One of the more well-known adaptations of Plutarch’s writing on Julius Caesar is William Shakespeare’s play Julius Caesar. First produced in 1599, perhaps for the opening of the Globe Theatre that same year, Shakespeare dramatizes the events surrounding Caesar’s assassination to pose questions about authority, political power, and fate. The tragedy play has had a varied production history over the last 423 years, as political regimes and movements have found the work’s themes sympathetic or contrary to their cause. Illinois theatres have hosted a number of historic productions of the piece, including a three-week run in 1888 at the Chicago Opera House featuring in the lead role of Brutus the actor Edwin Booth, brother of actor John Wilkes Booth infamous for assassinating Abraham Lincoln in 1865. Though during his attack John Wilkes Booth credits himself as shouting “Sic semper tyrannis!” — a phrase which his brother Edwin would cry in his role as Brutus — it is the words the soothsayer character uses to warn Caesar that we repeat today: “Beware the Ides of March.”
Below are a few of our favorite items featuring Shakespeare’s Julius Caesar:
Chicago Opera House, Julius Caesar (September 24, 1888). September 24, 1888. Chicago Public Library. Chicago Theater Collection-Historic Programs. Courtesy of the Chicago Public Library.Grand Opera House, Julius Caesar (February 28, 1892). February 28, 1892. Chicago Public Library. Chicago Theater Collection-Historic Programs. Courtesy of the Chicago Public Library.Scene from ‘Julius Caesar’. March 18, 1937. Photographed by Harold E. Way. Knox College. Harold Way Photograph Collection. Courtesy of Knox College.James Prescott Warde as Brutus in a scene from “Julius Caesar”. n.d. Engraved by [George Henry] Adcock. University of Illinois at Urbana-Champaign Library. Portraits of Actors, 1720-1920. Courtesy of the University of Illinois at Urbana-Champaign Library.Robert Downing as Marc Antony in “Julius Caesar”. 1889. Created by Gebbie & Husson. University of Illinois at Urbana-Champaign Library. Portraits of Actors, 1720-1920. Courtesy of the University of Illinois at Urbana-Champaign Library.Caesar. n.d. University of Illinois at Urbana-Champaign Library. Motley Collection of Theatre and Costume Design. Courtesy of the Rare Book & Manuscript Library, University of Illinois at Urbana-Champaign.Murder of Caesar. n.d. University of Illinois at Urbana-Champaign Library. Motley Collection of Theatre and Costume Design. Courtesy of the Rare Book & Manuscript Library, University of Illinois at Urbana-Champaign.
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March is Women’s History Month and March 8th marks International Women’s Day. The first National Woman’s Day was observed in the United States on February 28, 1909 by the Socialist Party of America in honor of the 1908 garment workers’ strike in New York. While this was the first official observance of any kind, the movement for women’s rights was born much earlier in 1848, when Elizabeth Cady Stanton and Lucretia Mott held the first women’s rights convention in the US. From that convention in 1848, this celebration of the vital role of women in American history would progress over the next 139 years from an official day to an official week, to finally being a federally designated month in 1987. In honor of Women’s History Month and International Women’s Day, the IDHH is featuring Jane Addams, an agent of change in Illinois history.
Born in Cedarville, Illinois in 1860, Jane Addams was an influential social reformer and activist who established the historic Chicago settlement house Hull House in 1889 with Ellen Gates Starr. Jane Addams would build Hull House into a hub of social and cultural opportunities for the largely immigrant residents on the Near West side of the city. In addition to her efforts with Hull House, Jane Addams worked with reform groups towards creating the first juvenile-court law, establishing an eight-hour working day for women, and advancing the cause of women’s suffrage. She would eventually help form the Women’s International League for Peace and Freedom in 1919, serving as the inaugural president of the international organization. In recognition of her unwavering dedication to the ideal and objective of world peace, Jane Addams was the co-winner of the 1931 Nobel Peace Prize, the second woman to ever receive the Prize.
Below are a few of our favorite items featuring Jane Addams and her pioneering work with Hull House:
Jane Addams. 1922. I. P. E. U. [International Photo-Engravers Union of North America 371]. University of Illinois at Urbana-Champaign Library. Picture Chicago. Courtesy of the University of Illinois at Urbana-Champaign Library.Ellen Gates Starr. 1922. I. P. E. U. [International Photo-Engravers Union of North America 371]. University of Illinois at Urbana-Champaign Library. Picture Chicago. Courtesy of the University of Illinois at Urbana-Champaign Library.Hull House, Chicago. June 1, 1915. Eastern Illinois University. Booth Library Postcard Collection. Courtesy of Eastern Illinois University.Courtyard of Hull House. 1920. University of Illinois at Urbana-Champaign Library. Picture Chicago. Courtesy of the University of Illinois at Urbana-Champaign Library.Hull House Kindergarten. circa 1906. National Louis University. Elizabeth Harrison-Chicago Kindergarten Movement. Courtesy of National Louis University.The Textile Room. May 1902. University of Illinois at Urbana-Champaign Library. Picture Chicago. Courtesy of the University of Illinois at Urbana-Champaign Library.
The IDHH contains some content that may be harmful or difficult to view. Our cultural heritage partners collect materials from history, as well as artifacts from many cultures and time periods, to preserve and make available the historical record. Please view the Digital Public Library of America’s (DPLA) Statement on Potentially Harmful Content for further information.
In recognition of Black History Month, the IDHH would like to highlight the vibrant history of the black musicians of the historic Maxwell Street Market, the birthplace of Chicago blues. Between 1916 and 1970, six million African Americans moved from the rural Southern United States to the more urban Northeast, Midwest, and West in the Great Migration. Bringing new life to industrial cities like Chicago, one of the many areas in which these new Chicagoans landed was that of Maxwell Street, part of the Near West Side of the city. A bustling residential district, Maxwell Street first appeared on a city map in 1847 and over the next 75 years would become an increasingly diverse neighborhood, earning itself the nickname “Ellis Island of the Midwest”. By the 1920s, the area’s residents were predominantly African American, and these new migrants brought with them the sound of blues music.
In the 1930s and ‘40s, Maxwell Street became known as a place where black musicians could be heard by the greatest number of people as shoppers browsed the wares in the open-air market or inside stores. These street musicians played the acoustic blues of the South, but soon realized that amplification was needed so that they could be heard above the din of the noisy market. Setting up near storefronts, they began to play a blues music using electric guitar and the harmonica, both heavily amplified, often to the point of distortion. Over several decades, the featuring of these instruments and the blending of musical genres gave birth to an electrified, industrial blues, later coined, “Chicago Blues.” Made famous by black musicians on Maxwell Street such as Muddy Waters, Howlin’ Wolf, and Bo Diddley, Chicago blues would find mass appeal through Chicago blues record labels like Chess Records and have a significant influence on early rock musicians like The Rolling Stones.
Here are a few of our favorite items from IDHH collections featuring the music of the famous Maxwell Street Market:
Maxwell Street Market. August 1915. Chicago History Museum. Prints and Photographs Collection. Courtesy of the Chicago History Museum.Aerial view of the Maxwell Street Market. July 1945. Photographed by Americo Grasso. Chicago History Museum. Prints and Photographs Collection. Courtesy of the Chicago History Museum.Jazz with junk. 1959. Photographed by Clarence W. Hines. Chicago History Museum. Prints and Photographs Collection. Courtesy of the Chicago History Museum.Magic show on Maxwell street near Newberry Street. Man pointing in forground. 1966. Photographed by James Newberry. Chicago History Museum. Prints and Photographs Collection. Courtesy of the Chicago History Museum.African American man in straw boater hat on Peoria Street, east of Maxwell Street. 1966. Photographed by James Newberry. Chicago History Museum. Prints and Photographs Collection. Courtesy of the Chicago History Museum.Gospel musicians near Maxwell Street. circa 1971. Photographed by James Newberry. Chicago History Museum. Prints and Photographs Collection. Courtesy of the Chicago History Museum.Woman in white playing the tambourine, on Peoria Street east of Maxwell Street. n.d. Photographed by James Newberry. Chicago History Museum. Prints and Photographs Collection. Courtesy of the Chicago History Museum.
As a native Texan, I have always regarded winter sports with a healthy amount of both respect and fear. However, an exception to this innate mindset was made every four years with the performance of the Winter Olympics. For those few weeks, I was awed by the grace of the figure skaters, the fearlessness of the luge racers, and the gravity-defying feats of snowboarders in the half-pipe. With the winter season in full swing here in Illinois, and the 2022 Winter Olympics just around the corner, the IDHH would like to feature a staple winter sport: ice skating.
Ice skating is believed to have developed in Scandinavia as early as 1000 BCE, using skates initially made from the bones of elk, oxen, reindeer, and other animals. While it is not exactly known when metal blades were introduced in the construction of ice skates , Dutch paintings from the 17th century clearly depict skaters gliding along on metal blades. Gaining in popularity as a recreational pastime in the 1800s, the activity eventually reached North America and a number of skating clubs were established in major cities in the Northern Hemisphere. Toward the end of the century, the sport would be indelibly changed in 1876 with the creation of the first rink using artificially frozen ice – the Glaciarium in London. The artificial ice rink in Madison Square Gardens opened soon after in 1879 and the innovation of creating artificial rinks led to the rise of various skating sports and a desire for ice shows as popular entertainment. Eventually, ice skating would make its debut in the 1908 Summer Olympics, with speed skating to follow as an event at the first official winter games in 1924.
Whether a newcomer to skating or a veteran of the ice, please enjoy a few of our favorite ice skating items from the collection:
Ice skating rink. 1960. Knox College. The Way to Knox. Courtesy of Knox College.Al Sherer, ice skating, Bloomington-Normal, IL, 1944. February 17, 1944. Photographed by Gladys Mittelbrusher. McLean County Museum of History. Pantagraph Negative Collection, 1940-1945. Courtesy of the McLean County Museum of History. Flooding skating rink, 1946. December 17, 1946. Photographed by Phyllis Lathrop. McLean County Museum of History. Pantagraph Negative Collection, 1946 – 1949. Courtesy of the McLean County Museum of History. Ice-Skating Line – 1937. 1937. University of St. Francis. Sharing Our Past, A Visual History. Courtesy of University of St. Francis. Slough. 1920. Benedictine University. John Jochman Album. Courtesy of Benedictine University.
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Visit the IDHH to explore other items related to ice skating.
To ring in the new year, the IDHH is pleased to feature the North Suburban Library District Local History Collection, one of our oldest collections, from the North Suburban Library District (NSLD). Opened in 1944 by the North Suburban Woman’s Club, the North Suburban Library District serves Machesney Park, Roscoe, and Loves Park with branches in Loves Park and Roscoe. Fifty years after opening, the North Suburban Library District Local History Collection began taking shape when the Friends of North Suburban Library group formed a local history committee. From an 1869 assessor’s book for the town of Harlem to photographs taken in 2001 of the NSLD Loves Park branch building, this collection illuminates the humble beginnings of the communities that surround Rockford, Illinois as well as important developments in this area over the past 150 years.
Local landmarks such as the River Lane Outdoor Theater and Kiddieland amusement park in Loves Park are included in the collection and provide a sense of recreation and entertainment in the metropolitan area. A particularly distinctive addition to the collection are images from the telephone operators’ strikes in 1945-1948, a series of strikes over the span of three years in which “telephone girls” picketed against the Illinois Bell Telephone Company, including a walkout of more than 16,000 telephone workers across Illinois and Indiana in November 1945. These demonstrations ultimately won the workers better wages and advancement opportunities, and the images of these demonstrations offer a glimpse at traditionally unseen workers and speaks to the power of workers’ unions at the time.
With such vibrant items in the collection, we hope you enjoy revisiting the North Suburban Library District Local History Collection as much as we do! Here are a few of our favorite items from the collection:
Kiddieland roller coaster. 1952. North Suburban Library District. North Suburban Library District Local History Collection. Courtesy of the North Suburban Library District.Rockford Interurban Trolley Car, North Second Street. n.d. North Suburban Library District. North Suburban Library District Local History Collection. Courtesy of the North Suburban Library District.River Lane Outdoor Theater. 1949. Photograph by Bobbie Lusk. North Suburban Library District. North Suburban Library District Local History Collection. Courtesy of the North Suburban Library District.The Illinois, Rock River steamer excursion boat. circa 1912-1913. North Suburban Library District. North Suburban Library District Local History Collection. Courtesy of the North Suburban Library District.Roscoe’s first rural mail wagon. circa 1909. North Suburban Library District. North Suburban Library District Local History Collection. Courtesy of the North Suburban Library District.Roscoe, Illinois, veterinarian, Dr. Baldwin. circa 1899. North Suburban Library District. North Suburban Library District Local History Collection. Courtesy of the North Suburban Library District.Telephone operators on strike, Loves Park, Ill. circa 1945-1948. North Suburban Library District. North Suburban Library District Local History Collection. Courtesy of the North Suburban Library District.
For additional information about the North Suburban Library District and its history, visit the Local History section of the NSLD website.
To view digitized historical issues of the area’s local newspaper, The Post Journal/Monday Morning Mail, visit the Illinois Digital Newspaper Collection.
As another year comes to a close and 2022 looms large on the horizon, the IDHH would like to devote a post to the ways in which we reconnect, recharge, and renew ourselves during these busy holiday weeks. As a nod to the ways in which we all might choose to close out this year, we have featured a few forms of togetherness and entertainment from years past.
Entertainment, Fun in the snow. circa 1900. Arthur Public Library. Arthur, Once Upon a Time – Local History Images of Arthur. Courtesy of the Arthur Public Library.
Invented by American Thomas Edison in 1877, the phonograph was the first sound machine that could both record and reproduce sound. The earliest “record player”, these devices consisted of a stylus or needle which traced the grooves etched upon a rotating cylinder and then amplified the sound waves through a flared horn. By 1890, record manufacturers had begun to mass-produce their product, allowing consumers to assemble their own record collections and share their favorite music with friends and family.
Entertainment, Family listening to Victrola. circa 1900. Arthur Public Library. Arthur, Once Upon a Time – Local History Images of Arthur. Courtesy of the Arthur Public Library.
While previous generations may not have had the ability to binge-watch an entire season of TV together over the course of a weekend, they could enjoy dazzling depictions of scenes and far-off places from the comfort of their very own homes using a magic lantern. Widely accepted to have been invented by Dutch scientist Christiaan Huygens in the 17th century, the magic lantern created large-scale projections from images on transparent glass plates by manipulating one or more lenses and a light source. With these larger images, a magic lantern was preferable for large groups of viewers and was commonly used for entertainment purposes from the 18th century until the mid-20th century.
Magic Lantern, circa 1890s. circa 1890s. Bensenville Community Public Library. Bensenville Historical Collection. Courtesy of the Bensenville Community Public Library.
Churches and winter scenes in the mountains. [n.d.] Bensenville Community Public Library. Bensenville Historical Collection. Courtesy of the Bensenville Community Public Library.
However we choose to spend these last moments of 2021 together – whether that’s listening to music, dancing with our favorite dance partner, or watching a feel-good movie – the IDHH wishes everyone a joyous holiday season and a wonderful New Year!
Music and dancing with Lil’ Pat. circa 1971. Photographed by James Newberry. Chicago History Museum. Prints and Photographs Collection. Courtesy of the Chicago History Museum.
Man and woman dancing on Peoria Street. 1970. Photographed by James Newberry. Chicago History Museum. Prints and Photographs Collection. Courtesy of the Chicago History Museum.
The IDHH is thrilled to once more partner with Analú María López, the Newberry’s Ayer Indigenous Studies Librarian, for our first post this December. Analú’s work focuses on underrepresented Indigenous narratives dealing with identity, language, and decolonization, and we are pleased to feature her writing for a second time as she sheds light on the Seeing Indian in Chicago exhibition, an outgrowth of the American Indian Oral History projecthighlighted in last month’s blog post.
The Chicago American Indian Photography project by Analú María López
For a long time, photography has reinforced negative stereotypes of Indigenous people, oftentimes placing them in the past. When we think of “Native American” or “Indigenous photography”, we think of the cliché photographs by white photographers like Edward Curtis1, we don’t usually think of Native American or Indigenous photographers. Despite the fact that Indigenous People have long taken images of their communities, we rarely see these images uplifted or reflected in history texts, let alone in the history of photography. In fact, Indigenous Peoples embraced photography early in the nineteenth century. Some even owned and operated their own photography studios, such as the Purépecha photographer Antonio Calderón Sandoval and Tsimshian photographer Benjamin Haldane. As the photographer and educator, Hulleah Tsinhnahjinnie (Seminole-Muscogee-Diné) once wrote, “No longer is the camera held by an outsider looking in, the camera is held with brown hands opening familiar worlds. We document ourselves with a humanizing eye, we create new visions with ease, and we can turn the camera and show how we see you.”
Louis Delgado, Betty Joe White, Billy White, Kathy White, and Patty White taking part in the Newberry Center’s Blessing in 1971. 1971. Photographed by Peter F. Weil. The Newberry Library. Chicago and the Midwest. Courtesy of The Newberry Library.
A collection of photographs titled the Chicago American Indian Photography project and Seeing Indian in Chicago exhibition records, held at the Newberry Library in Chicago, an independent research library with a focus on rare books, manuscripts, and other archival materials, highlights the Native American community in Chicago through a series of photographs created by Native and some non-Native community members. These photographs are part of the Indigenous Studies collection, which was founded on the donation from Edward E. Ayer’s Library in 1911. Ayer, a white settler, was one of the Library’s original Trustees and one of the most active collectors of his time in the field of Indigenous Americana.
An outgrowth of the American Indian Oral History project which was highlighted in last month’s blog post, included the Chicago American Indian Photography project and the subsequent Seeing Indian in Chicago exhibition, held July 22-September 21, 1985 at the Newberry Library. These projects aimed to document the Native American community in Chicago by creating an archive of photographs taken by community members over a span of 20 years. The project’s selections were chosen by an advisory group, and while Indigenous women photographers made the final list, the advisory committee’s decisions may have been based on how long the photographers had been photographing in the community.
Men’s Fancy dancer at 1982 AIC at Navy Pier, 1982. 1982. Photographed by Joe Kazumura. The Newberry Library. Chicago and the Midwest. Courtesy of The Newberry Library.
The final exhibition included six photographers of the Chicago Native American community: Dan Battise (Alabama-Coushatta), Ben Bearskin (Ho-Chunk), Orlando Cabanban (Filipino-American), Joe Kazumura (Japanese-American), F. Peter Weil, and Leroy Wesaw (Pokagon Band of Potawatomi).
At two community meetings and dinners, held at the American Indian center on May 22, 1985, audiences were shown the photographs taken by each of the photographers; three photographers were featured at each meeting. Many identifications of the individuals in the photographs were made during the viewing of the photographs. On July 26, 1985, an opening was planned to commemorate the start of the exhibition, and attempts were made to make it a community event. A neighborhood spiritual leader conducted a prayer, then dancers and singers performed. At least half of the 400 persons who attended the brief event were members of the Chicago Native American community.
“Portrait of photographer Leroy Wesaw (Pokagon Band of Potawatomi)”. Page 1 of Seeing Indian in Chicago exhibition records: Leroy Wesaw photographs. n.d. The Newberry Library. Edward E. Ayer Digital Collection. Courtesy of The Newberry Library.
Attendees at the 1961 Chicago Conference Pow Wow chatting between dances, 1961. 1961. Photographed by Peter F. Weil. The Newberry Library. Chicago and the Midwest. Courtesy of The Newberry Library.
Images of the photographers, Powwow celebrations, community events and clubs such as the Camera and Canoe Club are just a few images seen within this collection. The Camera Club, first founded in the 1960s, often met at the American Indian Center in Chicago twice a week on Thursdays and Saturdays. At one point, the Camera Club proposed building a traditional black and white darkroom where youth could learn how to print from negatives.
Despite some obstacles, such as timeline and prohibitive printing costs, the Chicago American Indian Photography project’s overall success, which led to the organization of the Seeing Indian in Chicago exhibition, reflects a growing consciousness among Chicago’s Indigenous and non-Indigenous communities that Indigenous histories must continue to be told and uplifted through the lens of the community.
“Earl Cordire, Ben Bearskin, and Nathan Bird, part of an American Indian Center camera club outing”. Page 11 of Seeing Indian in Chicago exhibition records: Dan Battise photographs. n.d. Photographed by Dan Batisse. The Newberry Library. Edward E. Ayer Digital Collection. Courtesy of The Newberry Library.
References:
1Edward Sheriff Curtis was an American photographer and ethnologist whose work focused on the American West and on Native American people. Curtis’ portraits reinforced the Vanishing Race myth: often, and problematically photographing Native people as ethnographic depictions of a “disappearing” people. The “Vanishing Race” myth derived its name from the caption of Edward Curtis’s photograph of Diné riders disappearing into the distance.
“I Value My Comfort!” Says Alexander Woolcott. 1940. Pullman State Historic Site. Pullman State Historic Site. Permission to display given by Pullman State Historic Site.
Are you traveling somewhere for the holidays? Take a moment to relax and imagine yourself in some of the more ideal accommodations from Pullman State Historic Site as found in their vintage advertisements from The Saturday Evening Post and National Geographic. The Pullman State Historic Site collection includes nearly 5,000 digitized items from the Pullman Historic Site, the former planned industrial community that specialized in luxury sleeper cars, providing a unique lens into a very intentional joining of civic and everyday life and manufacturing. Far before the Midwest bloc was referred to as “fly-over country”, Pullman cars contributed to a modernized image of the prairie, consistently promoting a “comfortable, convenient, and safe” alternative to cramped travel. In her recent book The Heartland: An American History Kristin Hoganson argues that “The heartland myth insists that there is a stone-solid core at the center of the nation,” which is isolationist, resistant to change, and geographically static. These advertisements directly support that argument representing a historic change of persisting economic growth in the Midwest’s legacy of movement, migration, and seizure. The Pullman advertisements’ specific brand of modernism and modernizing travel depicts spacious, comfortable cars that are conducive for individual and family travel, and suitable even for silent-film star Gloria Swanson. Compare her experience to your probable one on the road, or in the air this Thanksgiving.
“All these wonderful things happen only when you go Pullman” 1950. Pullman State Historic Site. Pullman State Historic Site. Permission to display given by Pullman State Historic Site.
“Elbow Room…that’s what I like when I travel!” 1941. Pullman State Historic Site. Pullman State Historic Site. Permission to display given by Pullman State Historic Site.
Railway Travel Ad. C. 1930. Pullman State Historic Site. Pullman State Historic Site. Permission to display given by Pullman State Historic Site.
“How I stepped into the most surprising role of my career” 1952. Pullman State Historic Site. Pullman State Historic Site. Permission to display given by Pullman State Historic Site.
“Your family will bless you for a vacation trip by PULLMAN” 1955. Pullman State Historic Site. Pullman State Historic Site. Permission to display given by Pullman State Historic Site.
I personally really love the grid system that gets repeated in these advertisements, that build out the entire Pullman itinerary, including the “Short Lesson in Anatomy”.
“Short Lesson In Anatomy”, 1951. Pullman State Historic Site. Pullman State Historic Site. Permission to display given by Pullman State Historic Site.
Happy Thanksgiving.
Additional Sources: Hoganson, Kristin L. The Heartland: An American History. Penguin Books, 2019.
We need your input! The Illinois Digital Heritage Hub website is now live but that’s not the end of the story. Changes are on the way, guided by the input and insight from site users like you. Please take a 4-question survey to tell us what you think about the website and portal. We welcome suggestions to improve existing content and ideas for new features. And if there’s something you really like, let us know. Thank you for helping us make the website better.
Happy October! The Illinois Digital Heritage Hub will be at the Chicago Research Summit and the Illinois Library Association Conference later this month.
Join Keri Cascio, chair of the IDHH Marketing Working Group and Chicago Public Library’s Assistant Chief of Technology, Content and Innovation at the Chicago Research Summit on October 18th. Keri will introduce the new IDHH website and search portal and its potential as a resource for educators and students of Chicago History.
Joshua Lynch, IDHH metadata specialist and webmaster, will present on the IDHH Website and Portal at the Illinois Library Association Annual Conference during both exhibits sessions on Wednesday, October 23rd and Thursday, October 24th. Learn about the IDHH and the DPLA and the website as a tool for new and current contributing institutions, educators and learners, and other user groups.
We look forward to seeing you there and want to hear your thoughts on the site!
