New IDHH Collection of Historic War Papers

The IDHH has continued to grow, with new collections added each quarterly harvest!

This month, in honor of Memorial Day, we’re featuring a new collection full of materials related to university courses and activities during World War I: the Evarts B. Greene World War I Papers, from the University of Illinois Urbana-Champaign Library. An American historian, Evarts B. Greene (1870–1947) was a professor and administrator at the University of Illinois from 1894 through 1923, when he was appointed the first De Witt Clinton professor of history at Columbia University until his retirement in 1939. During his tenure as head of the History Department at the University of Illinois, Greene served as chair of several committees related to campus activities during World War I. The items in this collection include correspondence and related materials to the “War Issues” course, an academic class required by the War Department for all university students enrolled in the Student Army Training Corps.

Here are a few of our favorite items from this new collection that tell the history of the “War Issues” course:

black ink typed letter on yellow-colored paper
Letter from Evarts B. Greene (Urbana, Illinois) to Louis Pelzer (Iowa City, Iowa), October 23, 1918 [front]. October 23, 1918. University of Illinois Urbana-Champaign Library. Evarts B. Greene, World War I papers, 1916-1920. Courtesy of the University of Illinois Urbana-Champaign Library.
black ink typed course description on paper yellowed with age
Preface of the University of Illinois’s Course on the Issues of the War, undated [page 1]. [n. d.] University of Illinois Urbana-Champaign Library. Evarts B. Greene, World War I papers, 1916-1920. Courtesy of the University of Illinois Urbana-Champaign Library.
black ink typed letter with handwritten signature
Letter from W. Trelease to Evarts B. Greene, October 10, 1918 [front]. October 10, 1918. University of Illinois Urbana-Champaign Library. Evarts B. Greene, World War I papers, 1916-1920. Courtesy of the University of Illinois Urbana-Champaign Library.
black ink typed letter with handwritten signature.
Letter from James H. Tufts (Chicago, Illinois) to Evarts B. Greene (Urbana, Illinois), November 29, 1918 [front]. November 29, 1918. University of Illinois Urbana-Champaign Library. Evarts B. Greene, World War I papers, 1916-1920. Courtesy of the University of Illinois Urbana-Champaign Library.
 


Want to see more?

Visit the IDHH to view more collections and items from the University of Illinois Urbana-Champaign Library or to view more items related to war and military history.

 

New IDHH Collection of Illinois Fish Illustrations

The IDHH has continued to grow, with new collections added each quarterly harvest!

In celebration of Earth Day, this month we’re featuring a new collection of watercolor illustrations: the Illustrations for The Fishes of Illinois, from the University of Illinois Urbana-Champaign Library.  The Fishes of Illinois (first edition 1908, second edition 1919) was the culmination of decades of work led by naturalist Stephen A. Forbes, chief of the Illinois State Laboratory of Natural History (now the Illinois Natural History Survey). Co-authored with ichthyologist Robert Earl Richardson, Forbes intended to create a reliable guide for the fish species present in Illinois, including color illustrations alongside descriptions of each species’ anatomy and appearance, habitat and distribution through Illinois, and lifecycle and taxonomy as known at the time. In the introduction, Forbes attributes the gorgeous illustrations to Lydia M. (Hart) Greene and Charlotte M. Pinkerton, whose signatures can be seen on some of the illustrations in the digital collection.

Here are a few of our favorite items from this new collection:

watercolor sketch of the fish Etheostoma coeruleum on cream paper.
Etheostoma coeruleum. [n. d.] Created by Charlotte M. Pinkerton. University of Illinois Urbana-Champaign Library. Illustrations for The Fishes of Illinois. Courtesy of the University of Illinois Urbana-Champaign Library.
watercolor sketch of the fish Notropis whipplii on black paper.
Charlotte M. Pinkerton’s Notropis whipplii. Created by Charlotte M. Pinkerton. 1903. University of Illinois Urbana-Champaign Library. Illustrations for The Fishes of Illinois. Courtesy of the University of Illinois Urbana-Champaign Library.

watercolor sketch of the fish Ameiurus nebulosus on cream paper.
Ameiurus nebulosus. [n. d.] University of Illinois Urbana-Champaign Library. Illustrations for The Fishes of Illinois. Courtesy of the University of Illinois Urbana-Champaign Library.
watercolor illustration of the fish Ictiobus bubalus on cream paper.
Lydia M. Hart’s Ictiobus bubalus. Created by Lydia M. (Hart) Green. [n. d.] University of Illinois Urbana-Champaign Library. Illustrations for The Fishes of Illinois. Courtesy of the University of Illinois Urbana-Champaign Library.
watercolor sketch of the fish Lampetra wilderi on cream paper.
Lampetra wilderi. [n. d.] Created by Charlotte M. Pinkerton. University of Illinois Urbana-Champaign Library. Illustrations for The Fishes of Illinois. Courtesy of the University of Illinois Urbana-Champaign Library.
 


Want to see more?

Visit the IDHH to view more collections and items from the University of Illinois Urbana-Champaign Library or to view more items related to Stephen A. Forbes (including his Civil War Diary), fish or Earth Day, or you can visit the IDHH previous blog post Unearthing the Roots of Earth Day. You can also visit the Illinois Natural History Survey to learn more about their history and current research.

Beware the Ides of March – Shakespeare’s Julius Caesar

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:

black ink theater program on aged paper for the Chicago Opera House's 1888 performance of Shakespeare's Julius Casesar, featuring Edwin Booth as Brutus
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.
black ink theater program on aged paper for the Grand Opera House's 1892 performance of Shakespeare's Julius Caesar
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.
black and white photo of a performance of Shakespeare's Julius Caesar
Scene from ‘Julius Caesar’. March 18, 1937. Photographed by Harold E. Way. Knox College. Harold Way Photograph Collection. Courtesy of Knox College.
black and white engraving print of Julius Caesar being stabbed by three men
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.
black and white photo of an actor in costume of an ancient Roman with tunic to portray Marc Antony.
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.
color sketch of Julius Caesar to demonstrate costume design.
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.
color painting of a stage reproduction of the murder of Caesar in Shakespeare's Julius Caesar.
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.

Want to see more? 

Visit the IDHH to view even more items related to Shakespeare’s Julius Caesar.

Black History Month at the IDHH

Happy Black History Month. As I’ve written before, so much of the work we do at the IDHH is focused on how people document history. For Black History Month, we’ve been thinking of ways that the community members can engage in the conversation of Black history, and the African American experience by visiting museums in Illinois and exploring digital resources.  We’ll have another post coming later this month that highlights a collection, but for the meantime here are a few notable collections relevant to Black history and culture available at the IDHH as well as some resources that we hope will help build context with our collections when thinking about the African American experience.

Galesburg, the largest city in Knox County Illinois, was the first city in the nation settled as an anti-slavery society. Founded in 1837, and a known site on the underground railroad, Galesburg hosted the fifth Lincoln-Douglas Debates (written about previously here).  Even though Galesburg welcomed African Americans as early as the 1840s the struggle for equal rights played out in the city just as it did in other communities across the nation. Struggle and Progress- African Americans in Knox County, Illinois from Knox College brings together photographs, documents, manuscripts, and newspaper clippings to document the struggle for civil rights in Knox County while illustrating the culture and everyday life of African Americans in Knox County.

The Amos Kennedy Collection at the University of Illinois at Urbana-Champaign’s Rare Books and Manuscripts Library contains work from the printmaker, paper maker, teacher, and book artist based in York, Alabama. His books, postcards, posters, and paper-based sculpture address race freedom, equality and violence. His work often includes proverbs from people of Africa alongside images, and poetry from African American poets.

The University of Illinois at Chicago’s Chicago Urban League Photos gathers over 20 years of the social service, research, and advocacy organization’s history.  Founded in 1910, the Chicago Urban League’s focus has evolved from social services to speaking up for the need for employment, Black owned business, and affordable housing and equitable education. CUL’s relationship with UIC’s School of Sociology brought community studies and statistical tools to the front of the conversation in shaping public policy.

The career of Eugene B. Redmond, the Poet Laureate of East St. Louis, started in East Saint Louis at the birth of the Black Arts Movement. As it developed over the next 30 years into a critical and poetic voice responding to life in the U.S., Redmond carefully documented and collected artifacts relating to the movement. The EBR African American Cultural Life digital collection is a selection of the 10,000 photographs, posters, and pamphlets from the Eugene B. Redmond Collection at Southern Illinois University- Edwardsville’s Lovejoy Library.  The digital collection includes photographs of poetry readings, conversation with Black poets, events, and art.

Our contributors’ collections are gems in their own right.  There are so many other collections though that interrogate and contextualize Black History, that give even more life to what we have on the IDHH. Here are a few more:
The Voices Remembering Slavery: Freed People Tell Their Stories project at the Library of Congress. In twenty-three interviews, recorded between 1932 and 1975, former slaves recount their stories as slaves and then as three people. They have much to say about their experience living as African Americans well into the 20th century.  Similar to Born Into Slavery: Slave Narratives from the Federal Writer’s Project, 1936-1938, a large collection of more than 2,300 first person accounts of slavery collected as part of the Federal Writers’ Project, Voices Remember Slavery is unique and notable for the songs interviewees sang.

The Museum of Science and Industry is celebrating the contributions of African Americans in science, technology, medicine and art. Focusing specifically on the past since 1970 “50 Years of Black Creativity” runs through the end of the month. Springfield and Central Illinois African American History Museum collects and displays the legacies of African Americans in Central Illinois.

Decatur’s The African-American Cultural and Genealogical Society of  Illinois, is one of the only institutions in Illinois that specializes in African American Genealogy. A field typically challenged because of the institution of slavery and it’s violence in breaking families, which made record keeping nearly impossible.  Here’s another article on African-American Genealogy from PBS.

Magic Lanterns and Glass Slides

So much of our work at the IDHH is focused on photographs, but so often we overlook the history of photography in the 20th century- specifically how photographs and the camera became the way we documented our everyday life.

In celebration of the darkest time of the year and the lights of the winter holidays I want to highlight  lantern and glass slides from Mount Prospect Library’s “Dimensions of Life in Mount Prospect”, The Museum of the Grand Prairie through the University of Illinois at Urbana-Champaign’s “Teaching With Cultural Heritage”, and Highland Park Historical Society’s “George D. Rice Collection”.

color photograph of an early 20th century magic lantern with the lens cover off and a rectangular slide placed in the viewing position, with a box full of slides next to it
Magic Lantern. C.1900. Mount Prospect Public Library. Dimensions of Life in Mount Prospect. Permission to display given by Mount Prospect Public Library.

The Magic Lantern was an early projector.  Originally invented in the 16th century, projectionists would move painted glass slides behind the lens to create performances and shows.  Only lit by candle light, the projection was weak. In the 19th century, small kerosene lamps were mass produced and replaced other, more dangerous illumination methods. Kerosene in part popularized lanterns and put them in churches, schools, homes, fraternal societies and more in the hands of amateur projectionists.

This Magic Lantern from Mount Prospect Public Library’s is a German import from the early 20th century.  With 37 glass slides, it projected scenes onto a wall, and included crayons for creating personal slides for new projections.

color photograph of an early 20th century magic lantern with the lens cover off and a rectangular slide placed in the viewing position
Magic Lantern. C.1900. Mount Prospect Public Library. Dimensions of Life in Mount Prospect.Permission to display given by Mount Prospect Public Library.

Mount Prospect Public Library’s “Dimensions Of Life in Mount Prospect” includes photographs and descriptions of artifacts from residents of Mount Prospect from the late 19th and early 20th centuries. With artifacts ranging from horse-hair mittens, to glass soda pop bottles, the collection shows how the early days of Mount Prospect and the northwest suburbs of Chicago were influenced by its German heritage and American identity before World War II when the village suburb’s population exploded.

The Museum of the Grand Prairie (formerly known as The Early American Museum) has a large collection of painted glass slides that children could use with toy lanterns.

a color lantern slide of a drawing of men doing various activities such as reading a newspaper and getting a shave, that is crackled with age
Magic Lantern Slide: Five Men. C. 1850. Museum of the Prairie, University of Illinois at Urbana-Champaign. “Teaching with Cultural Heritage”.

color lantern slide of a watercolor-style paining of ships along a coast that is crackled with age
Magic Lantern Slide: Ships along the Coast. C. 1850. Museum of the Prairie, University of Illinois at Urbana-Champaign. “Teaching with Cultural Heritage”.

color lantern slide of a drawing of several figures riding pics and donkeys
Magic Lantern Slide: Boys on pigs and donkeys. C. 1850. Museum of the Prairie, University of Illinois at Urbana-Champaign. “Teaching with Cultural Heritage”.

These awesome images would be projected on screens, showing sequences and small cartoonish and kitschy ethnographies and scenes of the everyday from ambiguous places.

Compare these slides to the glass lantern slides from the George D. Rice Collection at the Highland Park Historical Society.

color lantern slide photo of an industrial-style ship traveling through waters with glaciers
Glass Slide: Ships in Glacial Waters. C.1900. Highland Park Historical Society. George D. Rice Collection. Permission to display given by Highland Park Historical Society.

color glass lantern slide of a man walking on a street leading a donkey that is so covered by the hay it is carrying that it is almost invisible
Glass Slide: “A Walking Loaf of Hay”. C. 1900. Highland Park Historical Society. George D. Rice Collection. Permission to display given by Highland Park Historical Society.

black and white glass lantern slide photo of a man in a hat sitting on the porch of a house with white siding
Glass Slide: Man Sitting on the Front Stoop of House. C. 1900. Highland Park Historical Society. George D. Rice Collection. Permission to display given by Highland Park Historical Society.

black and white glass lantern slide photo of one man standing on top of a large pile of hay with other men standing in front of the pile
Glass Slide: Group of Men Standing Near Bale of Hay. C. 1900. Highland Park Historical Society. George D. Rice Collection. Permission to display given by Highland Park Historical Society.

For more photography, the IDHH is always open. You can find more from Mount Prospect Public Public Library’s “Dimensions of Life in Mount Prospect” Artifacts from the Museum of the Prairie via University of Illinois at Urbana-Champaign’s “Teaching with Digital Heritage”¹ at the links above and more on Highland Park Historical Society’s “George D. Rice Collection” on the IDHH and on their website.

¹Editor’s Note, 09/2024: This collection no longer exists.

Life Masks of Lincoln and Douglas

August, September, and October saw another anniversary of the Lincoln-Douglas debates, a watershed moment in Abraham Lincoln’s political career and the end of slavery in the United States.  Today in history, on November 7th 1858, incumbent Senator Stephen Douglas defeated Lincoln’s bid for the senate that had spurred their debates around Illinois. At the IDHH, we are looking back to our contributor the University of Illinois at Urbana-Champaign’s “Picture Chicago” and “Teaching with Digital Content (Cultural Heritage Community)” collections to rethink how the relationship between Lincoln and Douglas existed outside of the narrative of the famous 1858 debates.

Both these collections put items from a common cultural heritage in conversation with another, across the typical physical, institutional, and organizational lines that risk siloing these items.  The Picture Chicago Collection, includes over 600 images originally published in books about Chicago and digitized by the University of Illinois’ Urbana and Chicago campus libraries, including photos of old Chicago, the city’s gangsters, and early municipal-industrial feats such as the Post Office’s pneumatic tube system and turning the direction of the Chicago River.

Teaching with Digital Content (Cultural Heritage Community),¹ pulls together approximately 1,600 digitized items from a number of sources, including the University of Illinois Rare Book & Manuscript Library and Illinois History and Lincoln Collections as well as the Lincoln Home National Historic Site, as a model for K-12 teachers to integrate digital resources into their curricula, curating objects into discrete teaching units and learning guides. It includes posters from WWII, Japanese Dolls, photographs of civic and everyday life, photographs of pre-modern tools.  This collaboration from across the state provides a generous perspective on the everyday lives of Illinoisans from the 19th and 20th centuries.

black and white photo portrait-style of Stephen A. Douglas.
Stephen A. Douglas: Photograph taken during his debates with Lincoln, 1856. From In Clark E. Carr’s Stephen Douglas. University of Illinois at Urbana-Champaign. Chicago: its history and its builders, a century of marvelous growth.

Slavery’s expansion into the new territories  had been a fraught national debate for 40 years preceding the Lincoln-Douglas Debates. The Missouri Compromise of 1820 established the  36°30′ parallel, Missouri’s southern border, limiting the expansion of slavery above that line for all future territories west of the Mississippi River. 30 years later, the Compromise of 1850 was a bricolage of policy that designated California a free-soil territory in exchange for stricter fugitive stage laws in . Four years later, Stephen Douglas introduced the Kansas-Nebraska Act which repealed the prohibition of slavery north of  36°30′ in exchange for “popular sovereignty”, the notion that federal territories could decide for themselves in territorial legislature whether to prohibit or allow slavery, created a deeper rift in the increasingly divided nation. Some believed that Dogulas’ promotion of popular sovereignty and give those with a stake in it immediate agency. Abolitionists took advantage of this, creating a small movement of people rapidly moving to Kansas to overwhelm polls. Open violence between abolitionist and pro-slavery militias became the norm in Kansas prompting the New-York Daily Tribune to name the territory “Bleeding Kansas”.

When the Supreme Court decided in the 1857 Dred Scott decision that neither Congress nor the territorial legislature could exclude slavery from a territory, both the doctrine of popular sovereignty and the compromises were delegitimized and voided. The overlapping policies, compromises, and rulings that continued to permit slavery’s expansion created an increasingly tense and violent political situation with the morality of the nation, the economic spine of new territories, and the lives of 3,000,000 enslaved people all at risk.

At the Republican Convention in Chicago, Illinois Republicans announced that if they won control of the house in the 1858 elections, they would unite in sending Lincoln to the Senate to succeed Senator Douglas- a national spokesman for the Democratic party who had been in the Senate since 1842. In his acceptance speech, now well-known as the “House Divided Speech” Lincoln took a firm stand against the spreading of slavery into territories and attacked popular sovereignty as a naïve form political idealism, citing that neither Congress nor the Supreme Court had respected popular sovereignty as it came to slavery. He claimed that this was a crucial point in deciding either the expansion of slavery to all corners of the country, or abolishing it for good. “‘A house divided against itself cannot stand,’” Lincoln wrote. “ I believe this government cannot endure permanently half slave and half free. I do not expect the Union to be dissolved – I do not expect the house to fall – but I do expect it will cease to be divided. It will become all one thing or all the other.” Lincoln’s platform, the total abolition of slavery or moral grounds to create a more just and united house, differed entirely from Douglas’ belief in territorial legislative governance.

After seizing the nomination, Lincoln spoke in Chicago the day after Douglas, challenging the latter’s appeal to popular sovereignty. When Douglas traveled to Springfield for another speech, Lincoln followed, again attacking popular sovereignty the day after Douglas spoke. After Lincoln’s speech in Springfield, Lincoln and Douglas chose to debate in the seven remaining Congressional districts around Illinois.  The debates were each three hours long, and were held in Ottawa, Freeport, Jonesboro, Charleston, Galesburg, Quincy, and Alton, between August 21st and October 15th. Douglas’ political fame and the gravity of slavery expansion attracted national attention from newspapers. People flocked to the debates, with especially large crowds in Freeport, Quincy, and Alton.

In the Freeport debate, Lincoln challenged Douglas to defend popular sovereignty against the Dred Scott decision, in which the Supreme Court decided that slavery could not be excluded from territories, regardless of territorial legislation. Douglas’ words “It matters not what way the Supreme Court may hereafter decide as to the abstract question whether slavery may or may not go into a Territory under the Constitution, the people have the lawful means to introduce it or exclude it as they please” rejected the certainty of the Dred Scott Decision, thereby establishing himself as a politician who would continue the spirit of compromises that were becoming bloody. The Freeport Doctrine, as it became known, alienated voters in both the northern free-states and the southern slave-holding states. Historians agree that this doctrine ultimately cost Douglas the presidency in 1860, but elevated Lincoln’s appeal to abolitionists across the Union.

Douglas went on to serve another term in the Senate, with the Democrats winning control of the Illinois General Assembly in the 1858 election. The debates continued to make an impact on the political climate. After the election, Lincoln collected the transcripts of the debates from newspapers and rigorously edited them, removing strategically manipulated text published by partisan newspapers looking to make one candidate or the other incompetent, and published them as one volume.

black ink etched drawing of Abraham Lincoln riding on a horse in front of a building while a crowd of people cheer him.
Letter from Abraham Lincoln to Joseph Cunningham, written one day after Ottawa Debates, August 22nd, 1858.University of Illinois at Urbana-Champaign Illinois History and Lincoln Collections. Teaching With Digital Content (Cultural Heritage Community)

The stakes were incredibly high, with both the moral spine of the rapidly expanding nation and the lives of millions of people being directly impacted. Looking at the objects in the IDHH provided by the University of Illinois Library’s Digital Collections, we can look closer at the relationship between Lincoln and Douglas past the narrative of the debates, the “House Divided” speech and the Freeport Doctrine. In a letter written by Lincoln to Joseph Cunningham, a judge and newspaper publisher living in Urbana, Illinois Lincoln reflects on “crossing swords” with Douglas at their first debate in Ottawa the day before.

color photo of a handwritten letter, black ink on aged yellow paper.
Letter from Abraham Lincoln to Joseph Cunningham, written one day after Ottawa Debates, August 22nd, 1858.University of Illinois at Urbana-Champaign Illinois History and Lincoln Collections. Teaching With Digital Content (Cultural Heritage Community)

“The fire flew some,” Lincoln wrote to Cunningham, “and I am glad to know I am yet alive. There was a vast concourse of people– more than could near enough to hear.” Lincoln and Douglas had known each other and been debating for 20 years before hand, meeting first in the then-state capitol Vandalia and debating multiple times in the 1840’s and meeting for several concurrent speeches in the 1854 campaign. Their report was already well established, but could be easily overlooked, especially considering the political influence Douglas carried with him as the “Little Giant”.

In fact, the closeness of the political circle in Illinois, radiating outwards from the circuit courts, created a culture in which the political overtly crossed into their personal lives. It’s well known that Mary Todd Lincoln was courted by both Lincoln and Douglas in the 1840’s, shortly after moving to Springfield from her Lexington home. But an even more impressive proof of the proximity of Lincoln and Douglas is the story of these two life masks, made by Chicago sculptor Leonard Volk.

Douglas, a cousin of Volk’s wife Emily Clarissa Barlow, sponsored Volk to study in Rome. Upon his return in 1857 Volk chose to open a studio in Chicago, and created a life mask of Douglas.

color photo of the life mask of Stephen A. Douglas, resting on a faded crimson cloth.
Life mask of Stephen Douglas created by sculptor Leonard Wells Volk, 1857. University of Illinois at Urbana-Champaign Rare Books and Manuscripts Library. Teaching With Digital Content (Cultural Heritage Community)

The following year, Lincoln was introduced to Volk by Douglas himself during the debates. Lincoln, having read of Volk’s work, promised to sit for him for a bust the first chance he had. In an 1881 essay “The Lincoln Life-Mask and How it Was Made”, Volk recalls waiting nearly two years to see Lincoln again. In April 1860 while visiting Chicago, Lincoln finally came to sit for Volk in his studio on Washington and Dearborn Street, coming daily before court opened. Volk chose to create a plaster cast of Lincoln’s face and torso to base the bust from, rightly betting that Lincoln would only be in Chicago for a short while.  The life mask that Volk created is one of only two life masks of Lincoln.

color photo of the deteriorated with age plaster cast of Abraham Lincoln's face, used to model the life mask.
Life mask of Abraham Lincoln created by sculptor Leonard Wells Volk, 1860. University of Illinois at Urbana-Champaign Rare Books and Manuscripts Library. Teaching With Digital Content (Cultural Heritage Community)

Volk continued to build a reputation as an artist and educator in Chicago. In 1866, along with a group of other Chicago artists founded the Chicago Academy of Design, which would become the School  Art Institute of Chicago. He continued to create work based off the likeness of Douglas and Lincoln, including creating the Douglas Tomb and Memorial in Chicago and the statue of Lincoln on the east front of the Illinois State Capitol in Springfield. 
It is so easy to overlook the connections these figures had when considering the historical narrative and the stakes at hand. These objects help us remember the reality of their lives, while also bringing these cultural heritage objects to life.  The Volk life masks became the templates for images of Lincoln and Douglas, and the reproductions of the Lincoln bust found in town halls, libraries, schools, court rooms and more across the nation.

For more Lincolniana, including the legacy of the Lincoln-Douglas debates, see all items related to  Lincoln and Douglas on the IDHH.

Additional source:
Volk, Leonard W., et al. “The Lincoln Life-Mask and How It Was Made Reprinted from the Century Magazine for December, 1881: by Permission of the Century Company.” Journal of the Illinois State Historical Society (1908-1984), vol. 8, no. 2, 1915, pp. 238–259. JSTOR, www.jstor.org/stable/40194303.

¹Editor’s Note, 09/2024: This collection no longer exists.

Baseball at the IDHH

Tonight is Game Three of the World Series. To celebrate we’re highlighting a few pictures of baseball in Illinois.

There is a rich debate about the origins of baseball, both in terms of its evolution- and place, but we know that by the mid-19th century, baseball was already ingrained into American life and community. Both Union and Confederate soldiers documented baseball games in their diaries, including games played as prisoners of war. After the war communities formed clubs of their own, making baseball one of the first instances of communities establishing their own identities.  
In Illinois, as early as 1869 the Cairo Bulletin was reporting on games in bordering Missouri. By 1870, the Cairo Deltas and Egyptians were playing in Missouri, Kentucky, and Illinois as clubs and regional leagues began to form across the state.
Below are some of the greatest hits from Bess Bower Dunn Museum of Lake County, Cherry Valley Historical Society, Chicago History Museum, and the University of Illinois at Urbana-Champaign showing how the game was played in our communities from the 1880’s onward, and became an international phenomenon in the early 20th century.
The Dunn Museum’s Fort Sheridan Collection includes several images of baseball as a part of life on the Fort.

black and white photo of a woman in mid-20th century baseball uniform jumping up with open glove to catch a baseball
Woman Playing shortstop, C.1945. Unknown Photographer. Bess Bower Dunn Museum of Lake County (IL). Fort Sheridan collection. Permission to display was provided by the Bess Bower Dunn Museum.

 

sepia-tone photo of a man in army uniform shaking hands with a man in a top hat and coat tails and exchanging a baseball bat while other men observe
Man in Army Uniform Shaking Hands, Exchanging Baseball Bat, C. 1920. Unknown Photographer. Bess Bower Dunn Museum of Lake County (IL). Fort Sheridan. Permission to display was provided by the Bess Bower Dunn Museum.

The Cherry Valley Historical Society Cherry Valley Local History Collection includes team portraits of Cherry Valley Wildcats, and little leaguers from the first half of the century, showing what community sports looked like and how communities supported teams during baseball’s most nostalgic moment.

black and white photo of nine men sitting in grass in two rows wearing early 20th century baseball uniforms
Cherry Valley Baseball Team, C. 1916. Unknown Photographer. Cherry Valley Historical Society. Cherry Valley Local History Collection. Permission to display was provided by the Cherry Valley Public Library District.

Cherry Valley Baseball Team, C. 1916. Unknown Photographer. Cherry Valley Historical Society. Cherry Valley Local History Collection.
Meanwhile, the Chicago History Museum’s Museum Collection and Prints and Photographs Collection includes artifacts and photographs from Chicago’s MLB teams, the Cubs and the White Sox:

black and white photo of a baseball player catching a ball in front of a large crowd in the stands
Chicago Cub Ron Santo catching a foul ball at Wrigley Field, 1969. Jack Lenahan, photographer, Chicago Daily News Inc. Chicago History Museum. Prints and Photographs Collection. Permission to display was provided by the Chicago History Museum.

black and white photo of the exterior of Wrigley Field with a "Chicago Cubs" sign visible
Wrigley Field from Sheffield and Waveland avenues, 1964. F.S. Dauwalter, Photographer. Chicago History Museum. Prints and Photographs Collection. Permission to display was provided by the Chicago History Museum.


And lastly, the University of Illinois at Urbana-Champaign’s Picture Chicago Collection includes this great picture of the Chicago White Sox and New York Giant’s in front of The Great Sphinx during their 1913-1914 world tour:

black and white photo of a large crowd of people posed in rows with the Great Sphinx and one of the Pyramids of Giza
Chicago White Sox and New York Giants in front of the Sphinx during their World Tour 1913-1914, 1914. Unknown Photographer. University of Illinois at Urbana-Champaign. Picture Chicago.

For more fall ball, or if you’re still daydreaming of summer, check out our contributor’s collections on the Illinois Digital Heritage Hub Website.

 

National Guitar Month

April is National Guitar Month and to celebrate, the IDHH spotlights items from two collections from the University of Illinois Urbana-Champaign Library: the Sousa Archives Music Instrument Digital Image and 3D Model Collection and the John Starr Stewart Ex Libris Collection.
The John Starr Stewart Collection comprises more than 1500 book plates, book stamps, and spine labels from the late 19th century and earlier. Among these is a stamp from Leipsig, Germany that features a guitarist identified as Agnes Drobner.

black ink bookplate featuring a woman playing guitar with a flowered border.
Horst-Schulze. Drobner, Agnes. 1900. UIUC Library. John Starr Stewart Ex Libris Collection. Permission to display was given by UIUC Library.

The Sousa Archives houses thousands of pages of sheet music, musical instruments, and other historical artifacts pertaining to America’s diverse music heritage. Among these is a fascinating collection of early and experimental guitars, including some of the first electric Hawaiian guitars produced. Included below are an assortment of these unique guitars, including table and lap-style guitars developed by Eddie Alkire and produced by the Rickenbacker and Epiphone guitar companies, as well as Alkire’s modified 12-string acoustic Oahu GUITAR.

color photo of an Electro A-22 "Frying Pan" model electric guitar
Rickenbacker. Steel guitar. ca 1932. UIUC Library. Sousa Archives Music Instrument Digital Image and 3D Model Collection. Permission to display was given by UIUC Library.

color photo of an Oahu Jumbo 68B model acoustic guitar
Hawaiian guitar. Date unknown. UIUC Library. Sousa Archives Music Instrument Digital Image and 3D Model Collection. Permission to display was given by UIUC Library.

color photo of a ten-string lap-style electric guitar
Epiphone. Eharp-Lap Model Guitar. Date unknown. UIUC Library. Sousa Archives Music Instrument Digital Image and 3D Model Collection. Permission to display was given by UIUC Library.

color photo of a table electric guitar
Epiphone. Eharp. Date unknown. UIUC Library. Sousa Archives Music Instrument Digital Image and 3D Model Collection. Permission to display was given by UIUC Library.

Season’s Greetings from the IDHH

The Illinois Digital Heritage Hub celebrates December by highlighting items that symbolize three of the month’s holidays as well as the winter solstice. Best wishes to everyone this holiday season.

“Happy Kwanzaa” is shared with permission from the University of Illinois Urbana-Champaign Library. See all items contributed by the UIUC Library to the IDHH. The item is from a collection of materials created by artist and teacher Amos Paul Kennedy, Jr. that speak to issues of equality, freedom, race, and African American and Pan-African history and culture.

“Chanukah” is shared with permission from the Illinois State University Milner Library. See all of Illinois State University’s items in the IDHH. Browse all items in the International Collection of Child Art, of which Chanukah is an item.

“Christmas Lights on the Tower” is provided with permission from the Bess Bower Museum of Lake County. See all their items in the IDHH. The item is from the Fort Sheridan collection, which documents the history of a former U.S. Army post in Lake County north of Chicago.