 | Sawmill race, Old Sturbridge Village, MA. Old Sturbridge Village, MA. Karen Halttunen photo |
 | "The Wickedest Man in New York" - Scene at John Allen's Dance House, New York City, 1868 Frank Leslie's Illustrated Newspaper, Aug. 8, 1868. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZ62-2162 |
 | James D. McCabe's "Secrets of the Great City," 1868 Edward Winslow Martin, "The Secrets of the Great City," 1868, title page. The Newberry Library, 60 W. Walton St, Chicago, IL 60610 |
 | Late Victorian suburban home, 1880s(?) Robert W. Shoppell, "The Builder's Portfolios." In Clifford E. Clark, Jr., "The American Family Home 1800-1960," 1986, cover |
 | "Scientific Temperance Instruction" showing progressive deterioration of stomach lining, 1842 In J.C. Furnas, "The Life and Times of the Late Demon Rum," 1965, opp. p. 128 |
 | "Delirium tremens, apparition," 19th century Location unknown. In J.C. Furnas, "The Life and Times of the Late Demon Rum," 1965, p. 119 |
 | City "doggery" showing various stages of alcoholism, 1874 Harper's Weekly, 1874. In J.C. Furnas, "The Life and Times of the Late Demon Rum," 1965, opp. p. 128 |
 | George Cruikshank, "The Bottle," 1847; Plate VI, "Fearful Quarrels and Brutal Violence are the Natural Consequences of the Frequent Use of the Bottle;" a British print used for T.S. Arthur's "Temperance Tales," 1848 Timothy Shay Arthur, "Temperance Tales," 1848. Princeton University Library, One Washington Road, Princeton, NJ 08544 |
 | Temperance: "Signing the Pledge," 1874 Jane E. Stebbins, "Fifty Years History of the Temperance Cause," Hartford: L. Stebbins, 1874. In W.J. Rorabaugh, "The Alcoholic Republic," 1979, p. 194 |
 | Nathaniel Currier, "The Bad Husband: The Fruits of Intemperance," Currier and Ives, 1870 Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZ62-699 |
 | Mary Morgan tries to lead father home, in early edition of "Ten Nights in a Bar-Room," 1854 Timothy Shay Arthur, "Ten Nights in a Bar-Room," Boston: L.P. Crown & Co., 1854. The American Social History Project/Center for Media and Learning, The Graduate Center, City University of New York, 365 Fifth Ave, New York, NY 10016 |
 | "The Drunkard's Progress," from "A Glass With a Friend" to "Death by Suicide" in nine steps, 1846, hand-colored lithograph Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZC4-10005. In Francis Russell and the Eds. of American Heritage, "The Making of the Nation," 1968, p. 158 |
 | "The Drunkard at Home," a violent domestic abuser, 19th century Location unknown. The American Antiquarian Society, Worcester, MA. In The American Historical Review, April 1995, p. 327 |
 | George B. Cheever, "Deacon Giles’ Distillery," New York, 1844, using symbols of hell George Barrell Cheever, "The True History of Deacon Giles’ Distillery," New York, 1844, frontis. The University of Delaware Library, The University of Delaware, 181 South College Ave, Newark, DE 19717-5267 |
 | Communal dining hall, New Lebanon, NY, 1870s, drawing Frank Leslie's Illustrated Newspaper, 1878. Hancock Shaker Village, PO Box 927, Pittsfield, MA 01202. |
 | "Now, last eventful scene, we see Sam at the Falls," Sam Patch, c. 1870 "The Wonderful Leaps of Sam Patch," (New York: McLoughlin Bros., c. 1870) |
 | John A. Ruth, "Decorum: A Practical Treatise on Etiquette and Dress," New York, 1880, front cover Special Collections, University of Delaware Library, University of Delaware, 181 South College Ave, Newark, DE 19717-5267 |
 | Viewing Hiram Powers' "Greek Slave" with Victorian propriety, at the Dusseldorf Gallery, New York City, 1858. R. Thew engraving. Cosmopolitan Art Journal, v. 2, 1858. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZ62-50519 |
 | Helen Jewett bare-breasted in bed, 1836 George Wilkes, "The Lives of Helen Jewett and Richard P. Robinson" (New York, 1849). American Antiquarian Society, 185 Salisbury St, Worcester, MA 01609-1634. |
 | "Murder of Ellen(sic) Jewett," 1836; her killer was acquitted Location unknown |
 | Ads using Barnum's Jumbo the Elephant: thread, baking powder, Ivorine Location unknown |
 | A. Gault, "Shelter for the Homeless: Night Scene in a New York Station-House," 1873 Harper's Weekly Magazine 17, Dec. 13, 1873. The Fine Arts Museums of San Francisco, 233 Post St., 6th Fl., San Francisco, CA 94108. In Sarah Burns, "Pastoral Inventions: Rural Life in 19th Century American Life and Culture," 1989, p. 249 |
 | "Children on Street, Lower East Side," New York City, c. 1906 Lewis Hine photo. The Michigan State University, East Lansing, MI 48824 |
 | "New York and Brooklyn," Currier and Ives, 1875 Library of Congress Prints & Photographs Division, Washington, DC 20540. LC-USZC2-3449 |
 | W. Louis Sonntag, Jr., "The Bowery at Night," 1895 Courtesy of The Museum of the City of New York, 1220 Fifth Ave, New York, NY 10029. Our thanks to the Museum. All rights reserved. |
 | Sol Eytinge, "The Hearthstone of the Poor," 1876 Harper's Weekly, Feb. 12, 1876. In Sarah Burns, "Pastoral Inventions: Rural Life in American Art and Culture," 1989, p. 327 |
 | Manhattan's first skyscraper, Tower Building, 50 Broadway, NY, Bradford Lee Gilbert architect, 1888; demolished Courtesy of The Museum of the City of New York, 1220 Fifth Ave, New York, NY 10029. Our thanks to the Museum. All rights reserved. |
 | Trolleys and crowds, Buffalo, NY, c. 1900 Library of Congress Prints & Photographs Division, Washington, DC 20540. Gift, State Historical Society of Colorado, 1949. LC-D401-12910 |
 | Trolley cars and pedestrians, Chicago, IL, 1900 Library of Congress Prints & Photographs Division, Washington, DC 20540. LC-D4-12622 |
 | "The Grand Drive, Central Park," New York, Currier and Ives, 1869 Library of Congress Prints & Photographs Division, Washington, DC 20540. Card #: 2001702101 |
 | "Broadway New York, South from The Park," Currier and Ives, 1848 The Metropolitan Museum of Art, 1000 Fifth Ave., New York, NY 10028-0198. http://metmus.org |
 | Charles Frederic Ulrich, "In the Land of Promise, Castle Garden," New York, 1884, oil on wood panel, 28-3/8 x 35-3/4". An "Emigrant Landing Depot." In the Collection of the Corcoran Gallery of Art, 500 - 17th St NW, Washington, DC 20006. Accession Number 00.2. Museum Purchase, Gallery Fund. Our thanks to the Corcoran. All rights reserved. |
 | Immigrants on Ellis Island looking at Statue of Liberty, NY, 1910 Copyright holder unknown. In Oscar Handlin, "A Pictorial History of Immigration", (Crown Publishers, Random House, 1745 Broadway, 3rd Fl, New York, NY 10019), 1972, p. 328 |
 | Women on camel, Columbian Exposition, Chicago, IL, 1893 Library of Congress Prints & Photographs Division, Washington, DC 20540 |
 | World's Columbian Exposition, Chicago, IL; Palace of Mechanic Arts and lagoon, 1892 Frances Benjamin Johnston photo. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZ62-116999. |
 | "Ten Minutes for Refreshments," Great American Tea Company, New York, 1886, ad poster; railroad station lunch room; white men served by black waiters Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZC4-496 |
 | Frederic Remington, "Polo," 1904; furious combat of men on horseback Photo courtesy of The Frederic Remington Art Museum, 303 Washington St, Ogdensburg, NY 13669. Our thanks to the Museum. All rights reserved. |
 | Kellogg's Shredded Krumbles, "pep, vim, vigor," c. 1920, ad Strong National Museum of Play®, One Manhattan Square, Rochester, NY 14607 |
 | Brainerd and Armstrong Thread, Statue of Liberty, c. 1887, trade card The New York Public Library, Fifth Ave and 42nd St, New York, NY 10018 |
 | Fleischmann's Yeast, "Beware of imitations," 1888, ad calendar The Warshaw Collection of Business Americana, Archives Center, PO Box 37012, Suite 1100, MRC 601, Constitution Ave., between 12th and 14th Sts., NW, Washington, D.C. 20013-7012. www.si.edu |
 | "A Complete Home...Artistic Dwellings," design, 1892, ad Location unknown. In "Bob Perlongo, ed., "Early American Advertising," 1985, p. 10 |
 | Pears' Shaving Soap, 18th century scene, 1891, ad, A&F Pears Ltd. Location unknown. In Bryan Holme, "Advertising: Reflections of a Century," 1982, p. 10 |
 | Estey Organ Company, c. 1890, ad poster; print of factory, portrait of Beethoven The New-York Historical Society,170 Central Park W, New York, NY 10024 |
 | Scott's Emulsion, "Our Boy," c. 1890, cod liver oil, trade card Collection of Robert Jay. In Robert Jay, "The Trade Card in Nineteenth Century America," (Columbia: University of Missouri Press, 1987), fig. 153 |
 | Hires Root Beer, c. 1890, trade card; girl with cocked newspaper hat The Warshaw Collection of Business Americana, Archives Center, PO Box 37012, Suite 1100, MRC 601, Constitution Ave., between 12th and 14th Sts., NW, Washington, D.C. 20013-7012. www.si.edu |
 | Bicycle bell, compared to Liberty Bell, 1897, ad Location unknown. In Bob Perlongo, ed., "Early American Advertising," 1985, p. 116 |
 | Edward Payson Weston, "The Pedestrian," the nation's foremost race walker, 1867 Harper's Weekly, Nov. 16, 1867, p. 724 |
 | Cyclists near railroad overpass, Arlington, NJ, 1890-1901 Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-D4-11534 |
 | Men cycling (a race?), late 19th century Location unknown |
 | Indian Club Exercise, 1866 Simon D. Kehoe, "The Indian Club Exercise," 1866, fig. 9 |
 | Thomas Eakins, "The Biglin Brothers Racing," 1872, oil on canvas, 61.2 x 91.6 cm (24 1/8 x 36 1/16 in.)
Copyright National Gallery of Art, 2000B South Club Dr, Landover, MD 20785. Gift of Mr. and Mrs. Cornelius Vanderbilt Whitney. 1953.7.1. All rights reserved. www.nga.gov |
 | Thomas Eakins, "Max Schmitt in a Single Scull," 1871, oil on canvas; 32 1/4 x 46 1/4 in. (81.9 x 117.5 cm)
Public domain in the US. Copyright Metropolitan Museum of Art, 1000 Fifth Ave., New York, NY 10028-0198. Purchase, The Alfred N. Punnett Endowment Fund and George D. Pratt Gift, 1934 (34.92). All rights reserved. http://metmus.org. |
 | Baker's Cocoa, "famous in three centuries," colonial revival theme, 1906, ad; Walter Baker & Co., Ltd. Location unknown. In Bryan Holme, "Advertising: Reflections of a Century," 1982, p. 34 |
 | Alexander Helwig Wyant, "Autumn in New Hampshire," 1874-5 Location unknown. Karen Halttunen photo |
 | "Bancroft Tower, Worcester, Mass.," c. 1905, postcard In Ernest Hebert, "Greetings from New England," 1988, p. 102 |
 | Winslow Homer, "The Wreck of the Atlantic - Cast Up by the Sea," 1873
Harper's, April 26, 1873. Davidson Galleries, 313 Occidental Ave S, Seattle, WA 98104 |
 | Winslow Homer, "Croquet Scene," 1866, oil on canvas, 40.3 x 66.2 cm
Copyright Art Institute of Chicago, 111 So. Michigan Ave, Chicago, IL 60603-6110. Friends of American Art Collection, 1942.35. All rights reserved. |
 | Winslow Homer, "The Fishing Party," 1869, wood engraving on paper Appleton's Journal, Oct. 2, 1869. Memorial Art Gallery, University of Rochester, Rochester, NY 14627 |
 | Hydraulic mining in Nevada County, California. The North Bloomfield Mine, 1882. Copyright holder unknown. In Glenn C. Quiett, Pay Dirt, D. Appleton-Century Co., 1936, p. 105. 8.12.5 |
 | Blackhawk, Colorado, 1864. A Colorado gold town. Copyright holder unknown. In Glenn C. Quiett, Pay Dirt, D. Appleton-Century Co., 1936, p. 119. 8.12.5 |
 | Oildom. The John Benninghoff farm eight miles south of Titusville, Pa. as it looked in the mid-1860s. An indication of how rich some men got from the oil boom may be gathered from the fact that in Jan. 1868 Benninghoff was robbed of $450,000. See also LB-O-2. Drake Well Museum, 202 Museum Lane, Titusville, PA 16354. Mather Collection. Pennsylvania Historical and Museum Commission, Harrisburg, PA. In American Heritage, Oct. 1966, p. 40. 8.12.5 |
 | Off to the oil refinery. Barrels of black gold are pulled out of Rouseville, another Pennsylvania oil boomtown. Drake Well Museum, 202 Museum Lane, Titusville, PA 16354. Mather Collection. Pennsylvania Historical and Museum Commission, Harrisburg, PA. In American Heritage, Oct. 1966, p. 43. 8.12.1, 8.12.5 |
 | Women in the oilfields. The strong, worn women tried to maintain the amenities in the very eye of the oil storm. Here they gather for a tea party on what was once the Tarr farm, just south of Titusville. Copyright holder unknown. Drake Well Museum, 202 Museum Lane, Titusville, PA 16354. Mather Collection. Pennsylvania Historical and Museum Commission, Harrisburg, PA. In American Heritage, Oct. 1966, pp. 44-5. 8.12.5, 8.12.6 |
 | Thomas Moran, Lower Yellowstone Range, 1874. Chromolithograph. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZC4-2114. In Peter C. Marzio, The Democratic Art, 1979, Plate 67. 8.12.5 |
 | "Domes of the Yosemite," after an 1867 painting by Albert Bierstadt. Chromolithograph. Courtesy of The Amon Carter Museum, 3501 Camp Bowie Blvd., Fort Worth, TX 76107-2695. Our thanks to the Museum. In Peter C. Marzio, The Democratic Art, 1979, Plate 74. 8.12.5 |
 | 1893 Columbian Exposition: "Administration, Mining and Electrical Buildings from Wooded Island," after a painting by John Ross Key, chromolithograph, 1894. Chicago Historical Society, Clark Street at North Ave., Chicago, IL 60614-6071. In Peter C. Marzio, The Democratic Art, 1979, p. 127. 8.12.5 |
 | "Broadway, New York: South from City Hall Park," n.d. Currier and Ives. The Metropolitan Museum of Art, 1000 Fifth Ave., New York, NY 10028-0198. http://metmus.org. In Walton Rawls, The Great Book of Currier & Ives' America, 1979, p. 19. 8.12.5 |
 | "Bird's-eye view of Manhattan and New York City," 1875. Currier and Ives. Library of Congress, Prints and Photographs Division, Washington, DC 20540. 8.12.5 |
 | A parade of ads, "St. Nicholas Zoo." Signs reading: Lion Brand Collars, Pears Soap, Ivory Soap, Burpees Seeds, Sorosis Shoes, Travelers Insurance, Kodak, Remington Typewriter, Schwartz Toys, Kimballs Vehicles, etc., hang from the animals, pumpkins and buildings of "The Parade." St. Nicholas Magazine, date unknown. 8.12.5 |
 | Ad, Brownie Cameras. A picture of little brownie figures, but not quite those of Palmer Cox. "Any school-boy or girl can make good pictures with one of the Eastman Kodak Co.'s Brownie Cameras, $1.00." Eastman Kodak Co. Copyright Eastman Kodak Company, 343 State St., Rochester, NY 14650. All rights reserved. In St. Nicholas Magazine, Dec. 1900, advertising section, p. 34. 8.12.5 |
 | Ads of 1895. Under categories "Miscellaneous" (left page) and "Bicycles" (right page). Left: Ferry's Seeds ("Do Your Part"). Crescent Bicycles, with a picture of a woman in a robe looking down from a moon crescent. Dreer's Reliable Seeds, Plants and Bulbs, is repeated twice in the space. Sozodont toothpaste ("Pretty mouths should have pretty teeth in them, but it is not unusual to see between rosy lips teeth discolored and decaying through neglect;" and a picture of a man brushing). On the right side, Pope Manufacturing Company ("Ride a Columbia...Bicycling Is Like Flying...You have longed for the wings of a bird...They are yours for $100...") St. Nicholas Magazine, Vol. 22, April 1895, pp. 14-15. 8.12.5 |
 | Ad section, a double-page spread of 1895. Top ad on the left for Yost Writing Machine Company, and on right, Fairbanks Gold Dust Washing Powder. Other ads: engraver, jeweler, languages spoken in ten weeks, hearing aid, ornamental glass, bicycles, shoe polish, shade rollers, new plays, do your own printing, Flexibone Moulded Corsets, Wilson's Common Sense Ear Drums, W.L. Douglas Shoes, Weber Pianos. At the tops of two pages: Miscellaneous and House Furnishings. Other headings in this issue: Dry Goods, Bicycles, Books; and one page with a heading for Scott's Emulsion (cod liver oil). St. Nicholas Magazine, vol. 22, Jan. 1895, pp. 12-13. 8.12.5 |
 | A variety of ads of 1905: Pettijohn ("All Wheat. The health of your children cannot be too carefully guarded"), with a child's picture, Scott's Emulsion ("Health is the Real Gift"), Gillette Safety Razor, Ivory Soap ("To the Tips of his pink Toes") showing a mother and baby, Worth Shoes ("dry feet"), winter suits and cloaks, Winslow College Hockey Skates, and Glascock's Baby-Jumper and Baby-Walker. The Youth's Companion, Dec. 21, 1905, pp. 110-11. 8.12.5 |
 | A variety of ads from 1905, for Universal Percolators, Brad Makers, Food Choppers, Educator Shoes ("Lets the child's foot grow as it should"), Daisy Air Rifle ("All the year round a boy finds contentment in the companionship of a Daisy" - third person), Dent's Toothache Gum, 30 Flowering Bulbs, Money for Boys ("sell books on football"), Telegraph Operators Needed, Class pins or badges, Cudahy's Beef Extract, "Let Me Help You Plan Your Fall Costume," Hartshorn Shade Rollers, Peter's Chocolate, Iron-Clad Stockings, Worth Shoes (with a man's picture), Pearline Soap (with a woman's picture), and Telegraphy, "The road to success." The Youth's Companion, Sept. 14, 1905, pp. 430-1. 8.12.5 |
 | A typical page of ads of 1890, some similar to "classified" ads and others with displays. The largest, "Mme. Rowley's Toilet Mask or Face Glove, for improving and preserving the complexion," contains excerpts from testimonial letters. Other ads are for Merchant's Gargling Oil Liniment, Perfection Meat Cutters, A.T. Cross Fountain Pens, Down Pillows, Ambrosia Cream for facial blemishes, Travelers Insurance Co., Dow Pocket Door-Fastener, Pittsburgh Lamps, Songs of Dixie and Florida Real Estate. The Youth's Companion, Dec. 25, 1890, p. 719. 8.12.5 |
 | A page of ads of 1890, with one column of copy, the poem "The Night After Christmas." Ads are for Everett Pianos, J.I. Case Threshing Machine Co., Ironsides Agitator Separators, Brown's French Dressing (shoe polish), Palace Organs, Invigorating Lavender Salts, The House Patent Scroll Saw, Epps's Cocoa, Summer Syringe, Magic Lantern, Plushes, Bath Cabinet and Rolling Chair. The Youth's Companion, Dec. 18, 1890, p. 702. 8.12.5 |
 | Retailer's pamphlet, Buster Brown Shoes. "Shoes have been a favorite subject of nursery rhymes for centuries. Why shoes? Perhaps one reason is that children have many items of clothing - but only a few pairs of shoes. Of course, buying a new pair of shoes is a real occasion for a child. There's all that business of 'How does it feel?' and 'Walk up and down,' and 'Where's your big toe?' ending with the triumphant, 'Look at my new shoes!' Whatever the reason, shoes do have a special meaning for children. So whether your child is young enough to listen or old enough to read, he's sure to enjoy these time-honored rhymes about shoes. Sincerely, Buster Brown." On the opposite page is the rhyme of "Cock-a-doodle-do." Brown Shoe Company, Inc., 8300 Maryland Ave., PO Box 29, St. Louis, M0 63166-0029. Roland Marchand collection. 8.12.5 |
 | Poster ad, Cream of Wheat. "Building with Blocks," W.V. Cahill, 1910. A small girl of about 2 years old, uses alphabet and picture blocks to build a picture of Rastus, the Cream of Wheat chef. His image is taller than she is. She is a child learning a trade character; is this wishful thinking by the advertisers? Kraft Foods, Inc., 3 Lakes Dr., Northfield, IL 60093. In David Stivers, The Nabisco Brands Collection of Cream of Wheat Advertising Art, 1986, p. 37. 8.12.5 |
 | Ad, Cream of Wheat. To Market, To Market, 1902. "To Market, To Market, to Buy Cream of Wheat/Home again, Home again, Dance down the street. Cream of Wheat is the best and daintiest cereal food." A picture of Rastus is on the sign outside the building; a girl and boy do a dance in the street on their way home. Kraft Foods, Inc., 3 Lakes Dr., Northfield, IL 60093. In David Stivers, The Nabisco Brands Collection of Cream of Wheat Advertising Art, 1986, p. 18. 8.12.5 |
 | Ad, Cream of Wheat. Old King Cole, 1902. Rastus, the cook, serves the king above the rhyme: "Old King Cole was a Merry Old Soul/And a Merry Old Soul was He/He called for His Pipe and he called for his Bowl/And he called for his Fiddlers Three./They bro't him his Pipe and they bro't him his Bowl/While his Fiddlers played up sweet/But contentment never quite filled his soul/Till they bro't him his CREAM OF WHEAT. The Best and Daintiest Cereal Food." Kraft Foods, Inc., 3 Lakes Dr., Northfield, IL 60093. In David Stivers, The Nabisco Brands Collection of Cream of Wheat Advertising Art, 1986, p. 12. 8.12.5 |
 | Trade card, Milwaukee Harvester Co., c. 1890. A little girl in a wheat wreath holds flowers in her hand. Robert Jay, The Trade Card in Nineteenth-Century America, 1987, p. 93. Author's collection. 8.12.5 |
 | Trade card, Babbitt's "1776" Soap Powder, c. 1885. Several boys and girls are sledding in sleds made of Babbitt's Soap Powder boxes. Robert Jay, The Trade Card in Nineteenth-Century America, 1987, p. 96. From the Warshaw Collection of Business Americana. 8.12.5 |
 | Trade card, Dr. Price's Floral Riches Cologne. A girl and boy in an oval design walk through lush leaves and flowers encircling them. An ad for perfume: "contributes to health," c. 1870. Robert Jay, The Trade Card in Nineteenth-Century America, 1987, p. 91. Author's collection. 8.12.5 |
 | Trade card, Hires Root Beer, c. 1890. A girl wears a hat made of newspaper, which has a Hires Root Beer ad on it. She looks coy and appealing. The Warshaw Collection of Business Americana, Smithsonian Institution, Washington, DC. In Robert Jay, The Trade Card in Nineteenth-Century America, 1987, p. 92. 8.12.5 |
 | Trade card, Menthol Inhaler. "Oh Mamma! may I take the Menthol Inhaler with me please," c. 1885. A little girl holds a doll and stockings, ready to go to bed. Cushman's Menthol Inhaler. Robert Jay, The Trade Card in Nineteenth-Century America, 1987, p. 90. Author's collection. 8.12.5 |
 | Postcard, Cardboard Heroes: Firefighter. "The Cry for Help...The Rescue...", c. 1908? (Most text illegible.) American Heritage, Oct. 1962, p. 102. 8.12.5 |
 | A "Portable Sleeping Cushion," Lay’s 1881 invention was easy to use. The drowsy user unfolded the vertical stand and placed the sharp point in the floor. Then he rested his forehead on the upper cushion, dropped his arm on the lower one, and went to sleep. Lay felt his portable sleeping cushion would be especially welcomed by train passengers as well as by invalids who couldn’t stretch out on a bed. See also TN-A-2. Copyright holder and location unknown. 8.12.5 |
 | A Portable Sleeping Cushion/Lay’s 1881 invention was easy to use. The drowsy user unfolded the vertical stand and placed the sharp point in the floor. Then he rested his forehead on the upper cushion, dropped his arm on the lower one, and went to sleep. Lay felt his portable sleeping cushion would be especially welcomed by train passengers as well as by invalids who couldn’t stretch out on a bed. See also TN-A-1. Copyright holder and location unknown. 8.12.5 |
 | An 1888 advertisement enticing foreigners to come to the Dakota Territory. Business advertisements proclaim the sophistication of the territory by listing all the goods and services available in Fargo. The vignette at the lower left shows European heads of state, including Queen Victoria, Bismarck and the Pope, charging toward America, "the land of free homes." Library of Congress Prints and Photographs Division, Washington, D.C. 20540. In Wayne Moquin, ed., Makers of America, Vol. 4, William Benton, Publisher, 1971, p. 101. 8.12.5 |
 | German immigrants bound for the United States boarding a steamer in Hamburg. The population of foreign-born Germans in the U.S. increased from 150,000 in 1790 to more than 1,250,000 in 1860; by 1900 their number exceeded 2,600,000. Encyclopedia Britannica, Inc., Britannica Centre, 310 South Michigan Ave., Chicago, IL 60604. In Wayne Moquin, ed., Makers of America, Vol. 3, William Benton, Publisher, 1971, p. 104. 8.12.5 |
 | Deck scene on an immigrant liner in the first years of the 20th century. William H. Rau photo. Library of Congress Prints and Photographs Division, Washington, D.C. 20540. LC-USZ62-7307. In John F. Kennedy, A Nation of Immigrants, Harper & Row Publishers, 1964, illustration #18. 8.12.5 |
 | Immigrants on the steerage deck of the S.S. Pennland, 1893. Byron Collection. Courtesy of The Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. In Allon Schoener, Portal to America, New York, 1967, p. 30. 8.12.5 |
 | Façade, Ellis Island. Copyright holder unknown. Donated to collection courtesy of Norman Zack Project. Our thanks to the Norman Zack Project. 8.12.5 |
 | Immigrants with suitcases, Ellis Island. Copyright holder unknown. Donated to collection courtesy of Norman Zack Project. Our thanks to the Norman Zack Project. 8.12.5 |
 | Immigrants penned up by nationality on Ellis Island. On an average day, 4000 newcomers were processed, but 3000 of them had to stay overnight. c. 1910. Copyright holder unknown. Edwin Levick photo. New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. In Eds. of Time-Life Books, This Fabulous Century, 1900-1910, 1970, pp. 74-5. 8.12.5 |
 | Ellis Island, main registration room, second floor. Late afternoon scene in dark shadows, after restoration. Roland Marchand photo, Jan. 1, 1991. 8.12.5 |
 | Ellis Island, second floor, dark shadows; view of main registration room. After restoration. Roland Marchand photo, Jan. 1, 1991. 8.12.5 |
 | Ellis Island; external view of main building. Roland Marchand photo, Jan. 1, 1991. 8.12.5 |
 | Quarantine paddlewheeler carrying passengers released from quarantine, at last about to enter the golden door; main quarantine hospital on Staten Island. 1890. Copyright holder unknown. Staten Island Historical Society, 441 Clarke Ave, Staten Island, NY 10306. In Oliver O. Jensen, American Album, 1968, p. 250. 8.12.5 |
 | Ellis Island from the harbor. Copyright holder unknown. William Williams Collection, U.S. History, Local History & Genealogy Division, New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. Our thanks to the New York Public Library. In Allon Schoener, Portal to America, 1967, p. 31. 8.12.5 |
 | Inspection Room, Ellis Island, 1910-20. Library of Congress Prints and Photographs Division, Washington, D.C. 20540. LC-D4-73001. Donated to collection courtesy of Norman Zack Project. Our thanks to the Norman Zack Project. 8.12.5 |
 | Immigrants waiting to be transferred, Ellis Island, October 30, 1912. Copyright holder unknown. Library of Congress Prints and Photographs Division, Washington, D.C. 20540. LC-USZ62-11203. Donated to collection courtesy of Norman Zack Project. Our thanks to the Norman Zack Project. 8.12.5 |
 | Prof. Marchand at site of old Castle Garden Immigration Depot, Music Hall, and Fort. In Battery Park, New York City. Roland Marchand photo, Jan. 1, 1991. 8.12.5 |
 | The main building of Ellis Island, 1903. Copyright holder unknown. W. Evans-Gordon, "The Alien Immigrant," 1903. In Oscar Handlin, A Pictorial History of Immigration, 1972, p. 183. 8.12.5 |
 | "A family of English immigrants arrive in the New World, 1908." Sherman Collection, National Park Service, U.S. Department of the Interior, 1849 C Street, N.W., Washington, DC 20240. In Oscar Handlin, A Pictorial History of Immigration, 1972, p. 187. 8.12.5 |
 | Woman being given health examination by physicians at Ellis Island. U.S. Citizenship and Immigration Services, U.S. Department of Homeland Security, Washington, DC 20528. In Bernard A. Weisberger, The American Heritage History of the American People, 1971, p. 278. 8.12.5 |
 | New arrivals awaiting their turn at Ellis Island, 1920. Copyright holder unknown. Corbis Corp., 710 Second Ave., Suite 200, Seattle, WA 98104. United Press International photo. In Oscar Handlin, A Pictorial History of Immigration, 1972, pp. 282-3. 8.12.5 |
 | "Three immigrants on Ellis Island, about 1910, looking across the bay at the Statue of Liberty." Copyright holder unknown. Brown Brothers, 100 Bortree Road, P.O. Box 50, Sterling, PA, 18463-0050. In Oscar Handlin, A Pictorial History of Immigration, 1972, p. 328. 8.12.5 |
 | Italian family seeking lost baggage, Ellis Island, 1905. Lewis Hine photo. Lewis Hine Collection. Courtesy of The George Eastman House International Museum of Photography, 900 East Ave., Rochester, NY 14607. All rights reserved. Gift of Photo League, Inc., New York, NY. Our thanks to the George Eastman House. In Beaumont Newhall, History of Photography, 1839 to the Present, 1949, p. 173. 8.12.5 |
 | "A portion of the great examination hall in Ellis Island, 1904." Copyright holder unknown. Library of Congress Prints and Photographs Division, Washington, D.C. 20540. LC-USZ62-15539. Underwood & Underwood photo. In Oscar Handlin, A Pictorial History of Immigration, 1972, p. 183. 8.12.5 |
 | The Great Migration, 1880-1930. Immigrants awaiting either sailing or processing at point of entry. Copyright holder unknown. Library of Congress Prints and Photographs Division, Washington, D.C. 20540. In Oscar Handlin, A Pictorial History of Immigration, 1972, p. 175. 8.12.5 |
 | Ellis Island, 1905. Copyright holder unknown. William Williams Collection, U.S. History, Local History & Genealogy Division, New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. Our thanks to the NYPL. In Allon Schoener, Portal to America, 1967, p. 31. 8.12.5 |
 | The waiting and processing hall on Ellis Island, c. 1910. "The pens at Ellis Island, main hall. These people have passed the first mental inspection." Copyright holder unknown. Edwin Levick photo. William Williams Collection, U.S. History, Local History & Genealogy Division, New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. Our thanks to the NYPL. In Allon Schoener, Portal to America, 1967, p. 37. 8.12.5 |
 | Men's dormitory on Ellis Island, c. 1920. Copyright holder unknown. Underwood & Underwood photo. In Allon Schoener, Portal to America, 1967, p. 39. 8.12.5 |
 | Dining room filled with immigrants on Ellis Island, c. 1905. Copyright holder unknown. William Williams Collection, U.S. History, Local History & Genealogy Division, New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. In Allon Schoener, Portal to America, 1967, p. 38. Our thanks to the NYPL. 8.12.5 |
 | Immigrants eat in the Ellis Island dining hall while awaiting admission to the U.S., 1907. The hall and dormitory accommodated 1000 people, but the arrival of 5000 aliens in a given day was not uncommon, resulting in deplorably crowded conditions. World War I began to check the influx in 1915. Ellis Island opened in 1892. Library of Congress Prints and Photographs Division, Washington, D.C. 20540. In Wayne Moquin, ed., Makers of America, Vol. 6, William Benton, Publisher, 1971, p. 229. 8.12.5 |
 | "A Dutch mother and her eleven children on the way to Minnesota, 1908." Sherman Collection, National Park Service, U.S. Department of the Interior, 1849 C Street, N.W., Washington, DC 20240. In Oscar Handlin, A Pictorial History of Immigration, 1972, p. 197. 8.12.5 |
 | "A Scottish family on the way to Alabama, 1905." Sherman Collection, National Park Service, U.S. Department of the Interior, 1849 C Street, N.W., Washington, DC 20240. In Oscar Handlin, A Pictorial History of Immigration, 1972, p. 188. 8.12.5 |
 | Immigrant Dutch children. New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. In Oscar Handlin, A Pictorial History of Immigration, 1972, p. 150. 8.12.5 |
 | "'Little Canada' - the French-Canadian district of a mill town, about 1900." Harvard University Social Ethics Collection. Carpenter Center Photography Archives. History Department, Robinson Hall, 35 Quincy St., Cambridge, MA 02138. In Oscar Handlin, A Pictorial History of Immigration, 1972, p. 259. 8.12.5 |
 | The Christian Moerlein Brewing Company, 1880. Germans maintained a monopoly on America's beer-manufacturing throughout the 19th century. Cincinnati Museum Center, 1301 Western Ave, Cincinnati, OH 45203-1130. In Bernard A. Weisberger, The American Heritage History of the American People, 1971, p. 143. 8.12.5 |
 | Russian emigrants at Bismarck in the Dakota Territory. Group of men, women and children in Eastern European clothing in front of wooden building (probably the train station). Hiram H. Wilcox, 1900.
The Haynes Foundation. Courtesy of the Montana Historical Society, P.O. Box 201201, 225 North Roberts, Helena, MT 59620-1201. Not for resale. Permission is granted for ONE USE ONLY. Photo may not be re-used without written permission of the MHS Photograph Archives. This material may be protected by copyright law. (Title 17 U.S. Code). All rights reserved. In Eds. of Time-Life Books, This Fabulous Century, 1870-1900, 1970, p. 93. Our thanks to the Montana Historical Society. 8.12.5 |
 | Map of the location of the foreign-born population in the U.S., 1840-60. Copyright holder unknown. American Heritage Publishing Co. In Bernard A. Weisberger, The American Heritage History of the American People, 1971, pp. 168-9. 8.12.5 |
 | New York's Hester Street, c. 1888. Looking west from Clinton Street toward the Bowery. Popularly known as the Pig-Market, this stretch of the street was the principal shopping center of the most crowded slum district in the city. The Tenth Ward, known to the health offices as the "typhus ward" and to the Bureau of Vital Statistics as the "suicide ward." Into these tenements human beings were packed more densely than anywhere else in the world - London's worst slums and the rabbit warrens of China and India not excepted. Copyright holder unknown. New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. In John A. Kouwenhoven, Columbia Historical Portrait of New York, 1953, p. 381. 8.12.5, 11.2.1 |
 | A street in the Five Points district of New York City, 1870. The slum streets were narrow, crowded and strewn with garbage. Copyright holder unknown. The Frederick S. Lightfoot Collection. All rights reserved. In Wayne Moquin, ed., Makers of America, Vol. 3, William Benton, Publisher, 1971, p. 99. 8.12.5, 11.2.1 |
 | Poverty and a shortage of decent housing forced many immigrants to New York City to live in primitive shanty towns. These are shanties along Eighth Avenue, 1875. Copyright holder unknown. The Frederick S. Lightfoot Collection. In Wayne Moquin, ed., Makers of America, Vol. 3, William Benton, Publisher, 1971, p. 98. 8.12.5, 11.2.1 |
 | Tassel strip indicating Germans transplanted in Milwaukee, 1897. Copyright holder unknown. Wisconsin Historical Society, 816 State St, Madison, WI 53706. In Bernard A. Weisberger, The American Heritage History of the American People, 1971, p. 129. 8.12.5 |
 | "Riot at Hoboken, May 1, 1851." German immigrants battled nativists. The Germans, all from New York City, rented a cricket ground near Hoboken for the May Day celebrations and were attacked by a nativist gang from New York called the "Short Boys." A bloody street battle followed. Gleason's Pictorial Drawing Room Companion, 1851. Library of Congress Prints and Photographs Division, Washington, DC 20540. In Wayne Moquin, ed., Makers of America, Vol. 3, William Benton, Publisher, 1971, p. 24. 8.12.5 |
 | "Simian Irishman," "St. Patrick's Day, 1867...Rum, Blood, The Day We Celebrate." 1867. A brutal attack on the police in an Irish riot, shows policemen down, being beaten by Irishmen with simian faces. Thomas Nast cartoon. Harper's Weekly, April 6, 1867. In Dale T. Knobel, Paddy and the Republic, Middletown, Conn.: Wesleyan Univ. Press, 1986, p. 157 facing. 8.12.5 |
 | Anti-Irish cartoon of contrasted faces, ethnic caricatures. 1866. On the left, Florence Nightingale; on the right, Bridget McBruiser. Quotation, "'Look on this picture, and then on that.' - Shakespeare." James Redfield, "New Physiognomy, or Signs of Character," New York, 1866. In Dale T. Knobel, Paddy and the Republic, Middletown, Conn.: Wesleyan Univ. Press, 1986, following p. 156. 8.12.5 |
 | "Free Trade Lunch." The scene is the American Free Trade Lunch Room. 1888. Caption: "Grover Cleveland [bartender] proposes to make a Free Lunch of the American Workingman's Bread and Cheese, for the benefit of European Pauper Laborers." The following ethnics throng around the table and some of them beat back the American laborer as he tries to enter the room to get his share of the free lunch: an English mechanic, English pauper laborer, Mexican, Canadian, Russian, and Italian with a ring in his ear. Bernard Gillam cartoon. Judge, July 28, 1888. In The Distorted Image 1850-1922, Anti-Defamation League of B'Nai B'rith, 1973. 8.12.5 |
 | "Il Libro dell' Emigrante...per imparare La Lingua Inglese [The Book of the Immigrant...for Learning English]," 1880. Two scenes: Il Arrivo and Il Rimpatrio, before and after stages of a success story of which education was the key. On the front cover the shabbily dressed immigrant is seen arriving with all his possessions in a carpet bag. On the back, bowler-hatted and prosperous, he departs for his native country, while a porter struggles under the weight of his trunk. The American Museum in Britain, Claverton Manor, Bath, BA2 7BD England, UK. In Daniel J. Boorstin, ed., American Civilization, New York: McGraw-Hill, 1972, pp. 180-1. 8.12.5 |
 | "Mutual: Both are glad there are bars between 'em." An Irishman looks at an ape in a cage. 1891. Every country in Europe had its equivalent of "white Negroes" and simianized men, whether they happened to be stereotypes of criminals, assassins, political radicals, Jews, gypsies or peasants. See L. Perry Curtis, Jr., Apes and Angels. Judge, Nov. 7, 1891. In The Distorted Image 1850-1922, Anti-Defamation League of B'Nai B'rith, 1973. 8.12.5 |
 | "An Interesting Question: How long will it be before the Rats Own the Garden and the Man Gets Out?" Anti-new immigration cartoon: Uncle Sam lethargically puts up his feet in his garden, while the foreign "vermin" invade the premises. Rat faces in the foreground; stereotyped depictions of Jews, Russians, Italians and others from Southern and Eastern Europe. Life, June 22, 1893. In The Distorted Image 1850-1922, Anti-Defamation League of B'Nai B'rith, 1973. 8.12.5 |
 | "Uncle Sam's Troublesome Bedfellows." Bedfellows include a Mormon polygamist (on the floor); a Chinese (receiving a kick); an Indian (poking a finger in Uncle Sam's ear); a Negro; an Irishman (asleep with a whiskey bottle in his arms). 1879. The Wasp, a San Francisco weekly, Feb. 8, 1879. In The Distorted Image 1850-1922, Anti-Defamation League of B'Nai B'rith, 1973. 8.12.5 |
 | Redfield: Spaniards resemble cocks; Irish, dogs; in physiognomy one can "read" character, love of contest, love of triumph, and subserviency. The whole notion of "reading" a face goes back to the idea that there is an ideal human head. In Western society, the oval or egg-shaped head, derived from a Greek ideal of beauty, has usually governed. Redfield's comparative physiognomy, like sensitivity training in a later age, is suspect, with the air of charlatanism. James Redfield, "Comparative Physiognomy, or Resemblances Between Men and Animals," New York, 1852. In The Distorted Image 1850-1922, Anti-Defamation League of B'Nai B'rith, 1973. 8.12.5 |
 | Ad for celluloid collars, which will put pigtailed Chinese laundrymen out of business. The Chinese are shown in terror with their queues standing up, c. 1892. Trade card, 1880s. Warshaw Collection of Business Americana - Cosmetics Archives Center, National Museum of American History, Behring Center, Smithsonian Institution. In American Heritage, Feb. 1967, p. 63. 8.12.5 |
 | The one unmixable element in the national pot was the Irish. A female U.S. figure, ("Uncle Samantha"?) stirs various stereotypes of different nationalities into the American melting pot, in "The Mortar of Assimiliation," 1889. Cartoon. Duplicate of IM-F-42. Puck, June 26, 1889. In Bernard A. Weisberger, The American Heritage History of the American People, 1971, p. 175. 8.12.5 |
 | Miss Columbia's school. Hawaii: "Please, Ma'am, may I come in?" 1893. Columbia considers Hawaii's request; Canada is also in line. The student population takes advantage of her turned back by returning to their favorite, proscribed activities: Whites discomfit the Indian; a Southern ruffian prods the Negro child with a bayonet; Irish beat up Chinese; two Germans carry the red flag of socialism and the anarchist's bomb; Jew and non-Jew quarrel; a frightened Italian looks on (probably a reference to the lynching of several Italians in New Orleans in 1891); Mexican and Turk shoot dice in a corner. Note the implications of depicting the U.S. as a schoolhouse (who is in charge, who determines the curriculum, admittance). Judge, Feb. 18, 1893. In The Distorted Image 1850-1922, Anti-Defamation League of B'Nai B'rith, 1973. 8.12.5 |
 | Ad, "The Magic Washer." Nativist response to cheap Chinese labor, 1886. Library of Congress Prints and Photographs Division, Washington, D.C. 20540. LC-USZC4-2045. In Mary Cable and the Eds. of American Heritage, American Manners and Morals, p. 243. 8.12.5 |
 | Double ad, Pond's Extract. Left, the Chinese were always laundrymen who had barely missed Mongolian idiocy (1880s?); and right, an Irish rover was always ready for a shillelagh free-for-all. Notice the bottle of whiskey. "Bound for Donnybrook Fair (Fully Equipped)," 1892. Trade cards, 1892. Warshaw Collection of Business Americana - Cosmetics Archives Center, National Museum of American History, Behring Center, Smithsonian Institution. In American Heritage, Feb. 1967, p. 63. 8.12.5 |
 | "Another Vote" depicts a bewhiskered immigrant walking up a boardwalk from the ocean and Statue of Liberty, bearing a huge red flag of anarchy. 1892. Politicians bow to him with hats off, holding out naturalization papers. The Anarchist carries dynamite on his back. The politician to the right looks slightly "Irish." Truth Magazine, New York, May 21, 1892. 8.12.5 |
 | "The Shame of America - John Chinaman as the Husband of our Girls." 1892. Vicious anti-Chinese cartoon: the Wooing, the Proposal, the Marriage, the American Wife Supports the Family, the Chinese Husband goes home and leaves her with the children. Holy Bible cast aside, opium smoking, etc. Truth Magazine, New York, May 21, 1892. 8.12.5 |
 | "Taking a 'Smile'" satirized the Irish propensity for drink, 1854. Nathaniel Currier drawing. Courtesy of The Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to the Museum. In American Heritage, IX, 5, Aug. 1958, p. 25. 8.12.5 |
 | Fear of unrestricted immigration, 1860-69. Continuation of cartoon, IM-F-40. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZ62-22399. In Bernard A. Weisberger, The American Heritage History of the American People, 1971, p.220. 8.12.5 |
 | Fear of unrestricted immigration, 1860-69. "The Great Fear of the Period." Cartoon. See also IM-F-41. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZ62-22399. In Bernard A. Weisberger, The American Heritage History of the American People, 1971, p. 219. 8.12.5 |
 | The Irish as unmixable in the national pot, in "The Mortar of Assimiliation," 1889. Duplicate of IM-F-56. Puck, June 26, 1889. In Bernard A. Weisberger, The American Heritage History of the American People, 1971, p. 175. 8.12.5 |
 | The shadows of immigrant origins loom over restrictionist American plutocrats. Hypocrisy over immigration. J. Keppler cartoon. Puck Magazine, January 11, 1893. In Bernard A. Weisberger, The American Heritage History of the American People, 1971, p. 248. 8.12.5 |
 | Anti-Chinese advertisement for cleaning fluid implies that the US can get along without recourse to cheap Chinese labor. c. 1886. Library of Congress Prints and Photographs Division, Washington, D.C. 20540. LC-USZC4-2045. In Mary Cable and the Eds. of American Heritage, American Manners and Morals, 1969, p. 243. 8.12.5 |
 | Cholera: "The Kind of 'Assisted Emigrant' We Cannot Afford to Admit." 1883. F. Graetz cartoon. Puck Magazine. In Mary and Gordon Campbell, The Pen, Not the Sword, Aurora Publishers, Inc., Nashville, Tennessee, 1970. 8.12.5 |
 | "Columbia's Unwelcomed Guests." Caption on pillar: "The Constitution of the U.S. protects rich and poor alike. Anarchy is not liberty. Where a man's rights end, his neighbor's begin." Date unknown. Frank Beard cartoon. Judge Magazine. In Mary and Gordon Campbell, The Pen, Not the Sword, Aurora Publishers, Inc., Nashville, Tennessee, 1970. 8.12.5 |
 | The common nativist view of Germans as constant drinkers. According to the artist, even their dogs and children drank. Caption on barrels and flag: "Lager." Lithographed cartoon. Library of Congress Prints and Photographs Division, Washington, DC 20540. In Wayne Moquin, ed., Makers of America, Vol. 3, William Benton, Publisher, 1971, p. 272. 8.12.5 |
 | "The Usual Irish Way of Doing Things," a savage anti-Irish cartoon, 1871. Captions on walls: "Everything obnoxious to us shall be abolished, Our liberty has been taken away (killing Orangemen), We must rule." Caption on barrel: "Uncle Sam's Gun Powder." Thomas Nast cartoon. Harper's Weekly, Sept. 2, 1871. In Wayne Moquin, ed., Makers of America, Vol. 4, William Benton, Publisher, 1971, p. 177. 8.12.5 |
 | These cartoons represented widely-held views of the activities of most Irish-Americans as corrupt, anarchistic, murdering, lazy beggars. 1881. F.B. Opper cartoon. Puck, Nov. 2, 1881. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZ62-118124. In Wayne Moquin, ed., Makers of America, Vol. 4, William Benton, Publisher, 1971, p. 184. 8.12.5 |
 | "Parting with the wedding ring." Caricatures of Jews, such as this 1872 drawing of a pawnbroker and his apprehensive customer, often ran in newspapers of the time. Harper's Weekly, 1872. Encyclopedia Britannica, Inc., Britannica Centre, 310 South Michigan Ave, Chicago, IL 60604. In Wayne Moquin, ed., Makers of America, Vol. 4, William Benton, Publisher, 1971, p. 67. 8.12.5, 11.3.3 |
 | "The Black Hand. What can honest labor do to rid itself of this brute?" This 1884 cartoon reflects the spirit of the more moderate nativists like Senator Henry Cabot Lodge, who condemned illegal mob action in favor of more selective immigration controls. Captions on paper: "Socialism, Black Hand Society, To obtain our ends by any means." Captions on knives: "Assassination, Deceit, Murder." New York Daily Graphic, 1884. In Wayne Moquin, ed., Makers of America, Vol. 5, William Benton, Publisher, 1971, p. 38. 8.12.4, 8.12.5 |
 | U.S. workers to Congressman: "You protect us against the importations of the productions of European pauper labor, but not against the importation of pauper labor itself!" Captions on buildings: "Cheap Steerage Rates, Number of Immigrants in Six Years 1881-86 inclusive 3,309,886!!" Caption on banner: "European Cheap Labor." The rich man near the immigrants is a smiling monopolist. 1887? In Wayne Moquin, ed., Makers of America, Vol. 4, William Benton, Publisher, 1971, p. 71. 8.12.5, 11.6.5 |
 | James M. Blair collecting Democratic votes by way of too-liberal immigration laws. Detail of Naturalization Mill," detail of IM-F-11. Encyclopedia Britannica, Inc., Britannica Centre, 310 South Michigan Ave, Chicago, IL 60604. In Wayne Moquin, ed., Makers of America, Vol.4, William Benton, Publisher, 1971, p. 56. 8.12.5 |
 | "Naturalization Mill." Nativist view of immigration's results: race hatred, Ku Klux Klan strength and lynching. Detail of IM-F-11. Encyclopedia Britannica, Inc., Britannica Centre, 310 South Michigan Ave, Chicago, IL 60604. In Wayne Moquin, ed., Makers of America, Vol. 4, William Benton, Publisher, 1971, p. 56. 8.12.5 |
 | "Naturalization Mill." In the 19th century political power in the large eastern cities began to be controlled by political machines supported, for the most part, by the large immigrant population in the cities' poorer districts. The most powerful of these machines was New York's Tammany Hall. The voters needed to insure the party's tenure were created by "naturalization mills" presided over by faithful judges such as those attacked in this cartoon. Captions on machine: "Naturalization Mill, Judges McCunn & Sharswood Patent." Caption on sacks: "Democratic Voters, Naturalization mills." Details of close-up of top and bottom of IM-F-0, with judges and party hacks grinding immigrants into Democratic voters. Encyclopedia Britannica, Inc., Britannica Centre, 310 South Michigan Ave, Chicago, IL 60604. In Wayne Moquin, ed., Makers of America, Vol. 4, William Benton, Publisher, 1971, p. 56. 8.12.5, 11.6.5 |
 | An anti-Irish cartoon, early 1880s. Puck, 1880s. In Wayne Moquin, ed., Makers of America, Vol. 4, William Benton, Publisher, 1971, p. 181. 8.12.5 |
 | The strong arm of "Law and Order", the policeman's club, protects the social order. 1882. A nativist view of the violent decades of the late 19th century. The Graphic states: "It is better to use this, however, than to allow the edifices to fall. The world cannot be allowed to return to a condition of primeval chaos." Immigrants are blamed for all the vices of poverty. New York Daily Graphic, May 9, 1882. In Wayne Moquin, ed., Makers of America, Vol. 4, William Benton, Publisher, 1971, p. 42. 8.12.5, 11.6.5 |
 | Song sheet cover, "The Heathen Chinee," printed in Cleveland, Ohio, 1870. Words by Bret Harte. Verses recount the attempt of Truthful James and his partner, Bill Nye, to cheat Ah Sin, a Chinese gambler, at euchre. Ah Sin, who pretends ignorance of the game, manages to cheat the would-be cheaters...It is sometimes said that Hart meant to satirize those who regarded Chinese as "peculiar" and untrustworthy, but that the general public regarded the verses as an expose of Chinese deceitfulness. The last stanza reads, "Which is why I remark, And my language is plain, That for ways that are dark, And for tricks that are vain, The heathen Chinee is peculiar, Which the same I am free to maintain." The Daniel K.E. Ching Collection, The Chinese Historical Society of America, 965 Clay St., San Francisco, CA 94108. In Anti-Defamation League of B'nai B'rith, The Distorted Image 1850-1922, 1973. 8.12.5, 8.12.7 |
 | "The Chinese Invasion." Montage of cartoons commenting on the anti-Chinese movement in San Francisco, and on the presumed desire of Chinese in New York to be servants, how they will replace the Irish, and how they will organize to insist "The Irish must go." 1880. J. Keppler cartoon. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZ62-103143. In Mary and Gordon Campbell, The Pen, Not the Sword, 1970, p. 100. Cartoon from Judge. 8.12.5, 8.12.7 |
 | The Cleveland Cliffs mining yard beautified by nature. Cleveland Cliffs Iron Works, Cleveland, Michigan. 1905. Budgett Meakin, Model Factories and Villages: Ideal conditions of labor and housing, George W. Jacobs & Co., 1905, p. 78. 8.12.5 |
 | Balthazar's Feast in "Laurel Wreath," a popular Christian gift book in 1845. Was society breaking down? Religious seekers of life thought there was no hope. A man could never be regenerate, gain ascendency into the portals of heaven, or realize any sort of final salvation while he listened to men of "genius, talent or eloquence," as Reverend Burchard declared in "Laurel Wreath." Secular man would only transgress the mightiest of religious principles, and fall, as at Balthazar's feast, into the most bottomless pit of destruction. The Feast becomes a symbol of decadence, self-destruction and greed. The book was for those who hoped for salvation as a way out of the morass circling around them, a possible escape from the ills creeping into American life. "Laurel Wreath," 1845. In Edwin C. Rozwenc, ed., The Making of American Society, I, 1973, p. 488ff. 8.4.3, 8.12.5 |
 | John P. Oertel, "Things as they were and Things as they are," drawing and lithograph, 1853. The message here is that the old days were better than the new; the villain who destroyed them was Johann Gutenberg (on pedestal). Things as they were: a monk is seated, writing quietly in his cell; outside the window is a pleasant prospect of trees, houses and church. Things as they are: a yelling newsboy is the center of interest; behind him, a newspaper editor; above his desk is artificial light; he looks out the window on a hulking factory belching smoke; also a telegraph pole and ships of commerce. At the base of the lithograph is a speeding train versus a courier on horseback. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZ62-19456. In Carl Bode, Midcentury America, 1972, p. 21. 8.4.3, 8.12.5 |
 | A modern prison. Roland Marchand photo. 8.12.5 |
 | A modern prison. Roland Marchand photo. 8.12.5 |
 | A modern prison. Roland Marchand photo. 8.12.5 |
 | A modern prison. Roland Marchand photo. 8.12.5 |
 | A modern prison. Roland Marchand photo. 8.12.5 |
 | A modern prison. Roland Marchand photo. 8.12.5 |
 | "When Wallack's Theater Was New," 1882. This picture shows the stage. Harper's Weekly, 1882. In Foster R. Dulles, "America Learns to Play," D. Appleton Century Co., 1940, opp. p. 238. 8.12.5 |
 | "Great Five Mile Rowing Match," 1867. Rowing is the nation's oldest sports event in the annual match between Harvard and Yale. Many sports in America started in the elite Eastern colleges and eventually became sports of the masses, like football. Rowing, however, is not one of them. Currier & Ives. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-DIG-pga-00798. In Roy King and Burke Davis, "The World of Currier and Ives," Random House, NY, 1968. 8.12.5 |
 | "Central Park, The Drive." Currier & Ives. A number of people from the city are dressed up for a walk or a ride in the park. The geometric forms of the city form the background of the natural setting of the park. Courtesy of The Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to the Museum. In Colin Simkin, ed., "Currier and Ives' America," Crown Pubs., Inc., New York, 1952. 8.12.5 |
 | The First National Tennis Tournament at New Brighton, 1880. Frank Leslie's Illustrated Newspaper, 1880. In Foster R. Dulles, "America Learns to Play," D. Appleton Century Co., 1940, opp. p. 196. 8.12.5 |
 | "Central Park, Winter: The Skating Pond," 1862. Currier & Ives. Predominantly the upper class ice skate in Central Park. The park was the main source of recreation for the city population, and New York society gathered there for sport and pleasure. Courtesy of The Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to the Museum. In Roy King and Burke Davis, "The World of Currier and Ives," Random House, N.Y., 1968. 8.12.5 |
 | Golf with wooden clubs. Early golfing at Shelter Island, New York, c. 1904. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-D4-17118. In American Heritage, XIV, June 1963, No. 4. 8.12.5 |
 | A charity dance. The upper class enjoy a fashionable ball in the city, 1880. Frank Leslie's Illustrated Newspaper, 1880. In Foster R. Dulles, "America Learns to Play," D. Appleton Century Co., 1940, opp. p. 233. 8.12.5 |
 | Winslow Homer, The bathing beach at Newport, RI, 1858. Harper's Weekly, 1858. In Foster R. Dulles, "America Learns to Play," D. Appleton Century Co., 1940, opp. p. 151. 8.12.5 |
 | Edward Moran, "Liberty Lighting the World's Commerce," 1876. This work was prominently displayed at key fund-raising events in New York City. Copyright holder unknown. Collection of Kat Hellman. In James B. Bell and Richard Abrams, "In Search of Liberty," 1984, p. 28. 8.12.5, 8.12.6 |
 | The Statue of Liberty on a large pedestal, 1885. "ONE HUNDRED THOUSAND DOLLARS! Triumphant completion of the World's Fund for the Liberty Pedestal...." A two-column, almost full-length picture. New York World, Aug. 11, 1885, p. 1. The New-York Historical Society, 170 Central Park West, New York, NY 10024. In James B. Bell and Richard Abrams, "In Search of Liberty," 1984, p. 44. 8.12.5 |
 | A fireworks show followed the inauguration of the Statue of Liberty. Poor weather conditions delayed the inaugural fireworks display for three nights. Finally on Nov. 1, 1886, with tugboats and steamers encircling Bedloe's Island, a display of rockets and shooting stars was launched. At seven o'clock a bright white light radiated through the lenses of the statue's torch - the torch was lit. The New-York Historical Society, 170 Central Park West, New York, NY 10024. In James B. Bell and Richard Abrams, "In Search of Liberty," 1984, p. 54. 8.12.5 |
 | New York Harbor and Castle Garden, 1871. A bird's eye view. Currier and Ives. The New-York Historical Society, 170 Central Park West, New York, NY 10024. In James B. Bell and Richard Abrams, "In Search of Liberty," 1984, pp. 14-15. 8.12.5 |
 | Sheet music cover for a tune entitled, "Brooklyn Bridge Grand March." The bridge was completed in 1883. Library of Congress Prints and Photographs Division, Washington, DC 20540. M2.3.U6A44. In Marshall B. Davidson, "The American Heritage History of American Antiques," 1968, p. 350. 8.12.5 |
 | "Brooklyn Bridge." The greatest engineering marvel of the 19th century's age of invention was the Brooklyn Bridge, opened by President Arthur on May 24, 1883. It took 13 years to build, $15 million and 20 lives. Six days after it opened, its creaking caused a panic and 12 people were killed in a frantic rush to shore. Deatil of SY-B-1. In Steelways Magazine, American Iron and Steel Institute, 1140 Connecticut Ave., NW, Suite 705, Washington, DC 20036. In Eds. of Time-Life Books, "The Life History of the United States," Vol. 7, 1974, pp. 44-45. 8.12.5 |
 | "Centennial Mirror: One Hundred Years of Progress," 1876. A reflection on 100 years of progress. Published by American Oleograph Co. See also detail slides SY-C-36, -37, and -76-81. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZC4-645. In Marshall B. Davidson, "The American Heritage History of Antiques from the Civil War to World War I," 1968, pp. 94-5. 8.12.5 |
 | Horticultural Hall, The 1876 Centennial Celebration, Philadelphia. A vast ornamental pile of steel and glass. In American Heritage, Dec. 1971, p. 31. 8.12.5 |
 | The Century Vase, created by Gorham Co. Sterling silver. With its symbolism, allegorical figures and historical emblems, this (functionless) vase of over four feet in height was one of the hits of the exhibition. It represented time and money and industrial persistence. Valued at $25,000, it had taken five years, 38 weeks and 22 hours to complete. Centennial Exhibition, Philadelphia, 1876. "Treasures of art, industry and manufacture represented in the American Centennial Exhibition at Philadelphia 1876." In Marshall B. Davidson, "The American Heritage History of Antiques," 1968, p. 99. 8.12.5 |
 | The Corliss Engine, a major exhibit in the Hall of Machinery at the 1876 Centennial Exposition, Philadelphia. "Treasures of Art, Industry and Manufacture Represented in the American Centennial Exhibition at Philadelphia," 1876. In Marshall B. Davidson, "The American Heritage History of Antiques," 1968. 8.12.5 |
 | The 1876 Centennial grounds, a bird's eye view. The large building in center is Machinery Hall, and behind it is the Main Exhibition building. The domed fantasy is Memorial Hall. In the foreground is the narrow gauge railroad that bore visitors around the grounds in open cars at five cents a ride. 1876 Centennial Exhibition, Philadelphia. The Free Library of Philadelphia, 1901 Vine St., Philadelphia, PA 19103. In American Heritage, April 1974, pp. 20-1. 8.12.5 |
 | The 1876 Centennial Exhibition, Philadelphia. Machinery Hall, an interior view. The great Corliss Engine, one of the chief wonders of the Exhibition, was built in Providence, R.I. and brought to Philadelphia in 65 freight cars. Steam engines, sneered Leslie's Weekly of Great Britain, offered nothing in comparison with the great Corliss Engine. In the foreground are locomotives. In Leslie's Weekly, London, England, 1876. In American Heritage, April 1974, p. 25. 8.12.5 |
 | "1876: The Eagle Screams." In this front page of a commemorative journal of the Fair, Columbia reveals the fruits of her progress to an admiring world. Depicted are a train, steamboat, clipper ship, the Capitol building, and buildings of the fair. By Columbia's side are female figures representing other continents including Europe and Africa. The one in Indian headdress represents Native Americans. The two dark-skinned figures are lower, kneeling below the white figures. 1876 Centennial Exhibition, Philadelphia. Frank Leslie's "Historical Register of the Centennial Exposition, 1876." In American Heritage, April 1974, p. 15. 8.12.5 |
 | Centennial Mirror. A father and son of 1776. Contrast with SY-C-37. Detail of SY-C-5. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZC4-645. In Marshall B. Davidson, "The American Heritage History of Antiques from the Civil War to World War I," 1968, pp. 94-5. 8.12.5 |
 | The Main Building from the Jury Pavilion, Centennial Exhibition, Philadelphia, 1876. Note the nearby train and tracks of the Pennsylvania Railroad. "The Masterpieces of the Centennial International Exhibition," 1876, Vol. III, p. lxxxix. 8.12.5 |
 | President Grant and Emperor Dom Pedro of Brazil start the giant Corliss Engine in Machinery Hall. It supplied all the power to the exhibition buildings. 1876 Centennial Exhibition, Philadelphia. Frank Leslie's Illustrated Historical Register of the Centennial Exposition, 1876. In Richard Nicolai, "Centennial Philadelphia," 1976, p. 41. 8.12.5 |
 | A certificate for shares in the capital stock of the Centennial Board of Finance for the 1876 Centennial Exhibition. In the center, Columbia above other women; others bring fruits and vegetables; various countries bring their produce; below are miners, an Indian with a bow, facing or turning away, a Black man reading a book, a man with a sewing machine, a clipper ship, a soldier, a worker; below is a Declaration of Independence scene, flanked by horses plowing and a farmer with a scythe, with train and telegraph wires in the background; on the other side are a windmill and a factory in the background, while an Indian bent over in the foreground contemplates the scene. Frank Leslie's Illustrated Historical Register of the Centennial Exposition, 1876. In Richard Nicolai, "Centennial Philadelphia," 1976, p. 20. 8.12.5 |
 | The Women's Pavilion, 1876 Centennial Exhibition, Philadelphia. Frank Leslie's Illustrated Historical Register of the Centennial Exposition, 1876. In Richard Nicolai, "Centennial Philadelphia," 1976, p. 28. 8.12.5 |
 | "The huge Pennsylvania Railroad depot, located adjacent to the main entrance of the Centennial, was a temporary structure built to handle the thousands of visitors arriving by rail. It featured a large loop off the main New York-Washington line of the Penn. that permitted loading and unloading of passengers without turning around or switching. Countless spur lines throughout the fairgrounds facilitate[d] delivery of construction materials..." 1876 Centennial Exhibition, Philadelphia. Frank Leslie's Illustrated Historical Register of the Centennial Exposition, 1876. In Richard Nicolai, "Centennial Philadelphia," 1976, pp. 26-7. 8.12.5 |
 | "Progress." An ornamental figure by Reed and Barton, Taunton, Mass. Its length was five feet, its height four and a half feet. "The progress of America from savage to civilized life is represented by a contrast between its condition in the fifteenth and the nineteenth centuries. On the left hand [right hand here] we have a group representing the primitive state of the country...a party of savage Aztecs thinking of nothing but war - even the mother teaching her tender offspring the use of the bow; the barren rocks and scattered bones indicate the lack of all notion of profiting by the fruitfulness of the soil, while the angry serpent may be looked upon as typifying the fight with untamed nature. Four centuries pass and behold the contrast! The Genius of Columbia, bearing the olive-branch of peace in one hand and the fasces of just government in the other, passes before us. Mercury, the swift-footed god of commerce and oratory, leads his steed by a flowery bridle and thus symbolizes the guiding influence of his arts which have led us to prosperity. Beside Columbia walks Plenty, with her overflowing cornucopia; while beneath their feet spring up the plants and fruits which indicate the prosperous result of agriculture...student-group in advance, surrounded by the implements of Science...future holds in store for us other knowledge, more progress...bas-relief upon pedestal represents the landing of Columbus....Surmounting the whole is the figure of Liberty, standing upon a broken chain...[she] holds scroll on which is inscribed the record of our progress." 1876 Centennial Exhibition, Philadelphia. "The Masterpieces of the Centennial International Exhibition," 1876, Vol. II, pp. 62-4. 8.12.5 |
 | An ornate grand piano in ebony and gilt, executed by Goesendorfer in Vienna; it shows international aspects of the ornate Victorian style. 1876 Centennial Exhibition, Philadelphia. "The Masterpieces of the Centennial International Exhibition," 1876, Vol. III, p. lxxii. 8.12.5 |
 | Interior decoration, Carrington de Souche & Co., a Philadelphia firm. An overstuffed sofa in an ornate, curtained room. "The very abode of luxury…Any man looking into such a nest will feel himself a privileged person…a boudoir…an interesting figure of the Exhibition is the method which the upholsterers, decorators and furniture-dealers have chosen by which to display their goods to the best advantage. This method consists in dividing up the sections allotted to them into rooms, which are afterward fitted up as parlor, library, boudoir, dining room, or any special apartment. Some of these 'apartments' are perfectly lovely; others are regal in their magnificence..." 1876 Centennial Exhibition, Philadelphia. "The Masterpieces of the Centennial International Exhibition," 1876, Vol. II, pp. 121-2. 8.12.5 |
 | A carved walnut cabinet, the Italian Court. 1876 Centennial Exhibition, Philadelphia. "The Masterpieces of the Centennial International Exhibition," 1876, Vol. II, p. 440. 8.12.5 |
 | Bronze candleholder by Mitchell, Vance & Co., New York. "Draped female figure, bearing on her shoulder one of those graceful amphorae, or wine-jars, from the mouth of which spring plant-like the gracefully curving branches of the candelabra. Candelabra it is but in name, however, for the seeming candles are but clever imitations of those once-necessary articles. These modern imitations burn without diminution to their length...Not content with reproducing in bronze the most celebrated statues of ancient Greece and Rome and making them our light-bearers..." 1876 Centennial Exhibition, Philadelphia. "The Masterpieces of the Centennial International Exhibition," 1876, Vol. II, pp. 196, 201. 8.12.5 |
 | The Ferris Wheel, Midway Plaisance, World's Columbian Exposition, Chicago, 1893. "Highest point of wheel 264 feet. Highest line of vision 258 feet. Diameter of wheel 250 feet. Total weight of wheel and cars 2100 tons. Total weight of people per trip 150 tons. Axle steel forged, largest ever made, 33 inches diameter. Time required for one trip 20 minutes. Carrying capacity 36 cars, 60 persons per car, 2160." The wheel took in $1 million in Chicago, $250,000 at the St. Louis Fair in 1904, and was then dynamited into scrap. Time, Inc., 1271 Avenue of the Americas, New York, NY 10020-1393. In "Era of Sentiment and Splendor: The Victorian Age," Life Magazine, Vol. 49, Oct. 24, 1960, pp. 55-6. 8.12.5 |
 | A watercolor of the classical expanse of the Grand Basin and surrounding buildings, fountain, bongolas and imposing façades. The fair managed to seem like Venice and Versailles combined. Chicago Columbian Exposition, 1893. In Smithsonian Magazine, June 1993, p. 48. 8.12.5 |
 | Horticultural Hall, seen from an island in the Lagoon. It was a giant greenhouse with a glass dome 113 feet high. 1893 Chicago Columbian Exposition. In Smithsonian Magazine, June 1993, p. 41. 8.12.5 |
 | "Centennial Mirror: 1776-1876." Centennial Exposition, Philadelphia. A reflection on 100 years of progress. Detail of SY-C-5. Published by American Oleograph Co., 1876. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZC4-645. In Marshall B. Davidson, "The American Heritage History of Antiques from the Civil War to World War I," 1968, pp. 94-5. 8.12.5 |
 | Detail, "Centennial Mirror: 1776-1876." Centennial Exposition, Philadelphia. A reflection on 100 years of progress. Published by American Oleograph Co., 1876. Detail of SY-C-5. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZC4-645. In Marshall B. Davidson, "The American Heritage History of Antiques from the Civil War to World War I," 1968, pp. 94-5. 8.12.5 |
| "Centennial Mirror: 1776-1876." Centennial Exposition, Philadelphia. A reflection on 100 years of progress. Published by American Oleograph Co., 1876. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZC4-645. In Marshall B. Davidson, "The American Heritage History of Antiques from the Civil War to World War I," 1968, pp. 94-5. 8.12.5 |
 | "Centennial Mirror: 1776-1876." Centennial Exposition, Philadelphia. A reflection on 100 years of progress. Published by American Oleograph Co., 1876. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZC4-645. In Marshall B. Davidson, "The American Heritage History of Antiques from the Civil War to World War I," pp. 94-5. 8.12.5 |
 | "Centennial Mirror: 1776-1876." Centennial Exposition, Philadelphia. A reflection on 100 years of progress. Published by American Oleograph Co., 1876. Detail of SY-C-5. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZC4-645. In Marshall B. Davidson, "The American Heritage History of Antiques from the Civil War to World War I," 1968, pp. 94-5. 8.12.5 |
 | "Centennial Mirror: 1776-1876." Centennial Exposition, Philadelphia. A reflection on 100 years of progress. Published by American Oleograph Co., 1876. Detail of SY-C-5. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZC4-645. In Marshall B. Davidson, "The American Heritage History of Antiques from the Civil War to World War I," 1968, pp. 94-5. 8.12.5 |
 | First Grand Central Station, New York. The interior of the train-shed, 1869-71. At the time, the inside was the largest interior space in the U.S; the exterior façade was thought to echo the Louvre. This station was the Grand Terminus of Commodore Vanderbilt's New York Central System. Copyright holder unknown. The New York Central System is defunct. Photo by Isaac C. Buckhout and J.B. Snook. In Carroll L. Meeks, "The Railroad Station," 1956, Photo 98. 8.12.4, 11.2.5 |
 | Norton's Automatic Can-making machinery, 1885. This can line, distinguished by special-purpose machines and a conveyor system, was the creation of Edwin Norton, who organized both the American Can Company in 1901 and the Continental Can Company in 1904. The line brought work to the worker. Ford's principal machine tool expert, Oscar C. Bornholdt, had in 1913 compared the sequential arrangement of machine tools at the Ford factory to the layout of food canning machinery. American Machinist, July 14, 1885. Hagley Museum and Library, PO Box 3630, Wilmington, DE 19807-0630. In David Hounshell, "From the American System to Mass Production," 1984, p. 243. 8.12.5 |
 | Samuel Colt's Armory, Hartford, Connecticut, 1857. This new armory was opened in 1855. The organization of labor was done by the inside contract system. The factory used special machine tools; their special purpose was to eliminate the need for skill in operating machines. By 1855, almost 4000 different machines were at work. Library of Congress Prints and Photographs Division, Washington, DC 20540. In David Hounshell, "From the American System to Mass Production," 1984, p. 46. 8.12.5 |
 | Disassembly line in a slaughterhouse, 1873. An early example of "low" production; this one was in Cincinnati, an example later made famous in Chicago. Harper's Weekly, Sept. 6, 1873. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZ62-54651. In David Hounshell, "From the American System to Mass Production," 1984, p. 242. 8.12.5 |
 | Charing Cross Station, London. The interior of the train-shed. John Hawkshaw, engineer, 1862-64. Copyright holder unknown. In Cyril B. Andrews, "The Railway Age," London, England, 1937, Pl. 42. And in Carroll L. Meeks, "The Railroad Station," 1956, Photo 93. 8.12.5 |
 | Concourse of Union Station, Washington, D.C., 1903-07. Copyright holder unknown. Baltimore & Ohio Railroad Museum, 901 West Pratt St., Baltimore, MD 21223. In Carroll L. Meeks, "The Railroad Station," 1956, Fig. 162. 8.12.5 |
 | The interior of Wanamaker's Grand Depot, Philadelphia, c. 1876. In Herbert Adams Gibbons, "John Wanamaker," New York: Harper & Row, 1926. And in Robert Hendrickson, "The Grand Emporiums," 1979. 8.12.5 |
 | Central Park, a bird's-eye view, 1865, lithograph. John Bachman drawing. Plans for Central Park were proposed by A. J. Downing and others as early as 1850, but the property was not purchased until 1856. Work began in 1857, as part of the city's program of work relief for the unemployed in that depression year. Frederick Law Olmsted and Calvert Vaux were selected as the designers. In the mid-sixties an enthusiastic New Yorker congratulated the commissioners: "On a bare, unsightly and disgusting spot, they have created an area of beauty, charming as the Garden of the Lord." Courtesy of The Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 295. 8.12.5 |
 | A page from the "Greensward" plan for Central Park, submitted by Frederick Law Olmsted and Calvert Vaux in 1857. At the top of each page is a small reproduction of the original landscape plan; below this is a photo of some part of the property taken from a point indicated on the little map by a letter of the alphabet. At the bottom of the page is a miniature oil painting of the scene as it was to look when the plan had been carried out. Courtesy of The Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 296. 8.12.5 |
 | Frederick Law Olmsted, "Martel's New York Central Park," Martel color lithograph, 1864. Publisher, William H. Shields Co., New York. The George Glazer Gallery, 28 East 72nd St., New York, NY 10021. 8.12.5 |
 | Frederick Law Olmsted, "View of Central Park," color lithograph, c. 1875. Courtesy of The New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. Our thanks to the NYPL. In Albert Fein, "Frederick Law Olmsted and the American Environmental Tradition," 1972, Fig. 75. 8.12.5 |
 | "St. George's Cricket Ground and the Red House Tavern at Harlem," pencil drawing, 1843. Harlem was an objective for "pleasing excursions" in the upper portion of Manhattan Island. Courtesy of The Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 209. 8.6.3, 8.12.5 |
 | The junction of Broadway and Eighth Ave., now Columbus Circle, NY, 1862. The long wooden building in the center foreground stood just about where the General Motors Building now stands. "Uptown, beyond 50th street, where farms and shanties dotted the landscape...a large tract of land had been set aside as a park..." Courtesy of The Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 294. 8.12.5 |
 | Winslow Homer, "Elysian Fields," 1857-60. Even if a real vacation was impossible, city dwellers could get out into the woods and fields for picnics. Elysian Fields was a favored picnic ground in Hoboken, across the river from New York City. Harper's Weekly, c. 1858. In John A. Kouwenhoven, "Adventures of America," 1938, No. 21. 8.12.5 |
 | View of Greenwood Cemetery, New York City, 1852. This is a view of one of the better rural cemeteries of the 19th century. The lakes, sculptures, ponds and groves attracted many urban dwellers on their days off from work. These rural cemeteries grew in popularity until by the 1870s practically every town of any size had at least one. Library of Congress Prints and Photographs Division, Washington, D.C. 20540. LC-USZ62-19372. In John W. Reps, "The Making of Urban America," Princeton, NJ: Princeton University Press, 1965, p. 328. 8.12.5 |
 | T. Worth, "The Grand Drive," Central Park, New York. Currier and Ives, 1869. Library of Congress Prints and Photographs Division, Washington, DC 20540. In Walton Rawls, "The Great Book of Currier & Ives' America," 1979, p. 33. 8.12.5 |
 | The entrance of Llewellyn Park in Orange, NJ, 1859. This view shows the natural beauty of this park-like suburb. Cornell University Library, 201 Olin Library, Cornell University, Ithaca, NY 14853. In John W. Reps, "The Making of Urban America," Princeton, NJ: Princeton University Press, 1965, p. 341. 8.12.5 |
 | Plan of Riverside, Illinois. This is the plan of a suburb of Chicago, designed in 1869 by Frederick Law Olmsted. His plan of an irregularly shaped park with small, informal open spaces reveals his concern for a distinctly rural and open atmosphere within the town. The gracefully curved roadways were designed to facilitate comfort and convenience rather than fast movement. Map Division, New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. In John W. Reps, "The Making of Urban America," Princeton, NJ: Princeton University Press, 1965, p. 345. 8.12.5 |
 | Plan of a portion of Llewellyn Park in Orange, NJ, 1859. One of the earliest and best examples of romantic planning of American suburbs, this project was developed in 1853 by Llewellyn Haskell. He built fifty homes in a four hundred acre park-like setting. No fences were planned to divide the properties, in order to avoid upsetting the naturalistic appearance, and winding drives rather than grid-like streets were utilized. Cornell University Library, 201 Olin Library, Cornell University, Ithaca, NY 14853. In John W. Reps, "The Making of Urban America," Princeton, NJ: Princeton University Press, 1965, p. 340. 8.12.5 |
 | View of Central Park, New York City, looking north, 1863. This park was the first large urban park to be planned and developed in the U.S. Designed by Frederick Law Olmsted, Jr. and Calvert Vaux, this park provided a great stimulus to the setting aside and developing of large parks in other urban areas of the U.S. The New-York Historical Society, 170 Central Park West, New York, NY 10024. In John W. Reps, "The Making of Urban America," Princeton, NJ: Princeton University Press, 1965, p. 337. 8.12.5 |
 | Plan of Mount Auburn Cemetery, Cambridge, Mass., 1831. This cemetery was the first of the rural cemeteries that developed in the early 19th century. The grounds were well landscaped and embellished with lakes, ponds, groves, and winding drives. Many urban dwellers came out to get away from the city and marvel at the beauty and peace of nature. Author's collection. In John W. Reps, "The Making of Urban America," Princeton, NJ: Princeton University Press, 1965, p. 327. 8.12.5 |
 | Baxter St. between Hester and Grand Streets, New York City, 1861. The city was changing so rapidly in 1850 that an evident nostalgia began to appear in pictures of its older neighborhoods. Copyright holder unknown. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 284. Author's collection. 8.12.5 |
 | The west side of Hudson Street, between Chambers and Reade Streets, New York City, summer 1865. Photo. Store fronts have numerous large signs. Business boomed during the Civil War, and neither Union victories nor Lincoln's funeral sidetracked the drive for trade. Courtesy of the Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. All rights reserved. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 326. 8.12.5 |
 | Grover & Baker Sewing Machine Co.'s new building at 495 Broadway, New York City. Lithograph of 1860, the year the building was completed. "The front of the building is wholly constructed of iron and glass and is singularly imposing, somewhat resembling the entrance to a large gothic cathedral...The city's age of iron had come, bringing with it potentialities for new urban forms...which were as yet barely discernible amid the confusion of images borrowed from the past." See also UR-D-18 and UR-D-47 for approximately the same scene. Courtesy of the Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 326. 8.12.5 |
 | New York City wires. A black and white lithograph by J.H. Fogerty, 1880. Shows the confusion of telegraph and telephone wires in the business district; they are now a prominent feature in pictures of the city streets. This view shows Broadway, looking north from Cortlandt St. and Maiden Lane, three months after Bell's first New York demonstration of his telephone. There were five instruments in service in the city with the introduction of the telephone in 1877; in 1878 came the first directory in New York, with 250 subscribers. Courtesy of the Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 444. 8.12.5 |
 | The Dakota Apartments, built in 1881 at 72nd St. and 8th Avenue, New York City, overlooking Central Park. Despite objections by some of the stodgy older generation to what seemed to be merely glorified tenements, the idea caught on rapidly, and more and more people began to live in apartments and tenements rather than in houses. Courtesy of the Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. All rights reserved. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 444. 8.12.5 |
 | A new tenement house, fronting on two streets at the southwest corner of 32nd Street and Third Avenue, New York City, 1892. Copyright holder and location unknown. 8.12.5 |
 | A bird's-eye view of New York, 1852. The drawing gives a sense of looking at a miniature of the city. The city's chief "sights": Castle Garden, Trinity Church, The Custom House, the Merchants Exchange, City Hall, Broadway, and Brooklyn Heights are exaggeratedly prominent. Only in broad, panoramic views like this could one grasp the mid-century city. Courtesy of the Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. All rights reserved. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 40. 8.12.5 |
 | William Hahn, "Union Square, New York," 1878. Oil on canvas, 25 1/2 x 40 1/2 inches. With this genre picture Hahn sought to domesticate an urban wilderness in which it was increasingly difficult to feel at home.
Copyright The Hudson River Museum, 511 Warburton Ave., Yonkers, NY 10701. Collection of The Hudson River Museum, Yonkers, NY. Gift of Miss Mary Colgate, 25.947. All rights reserved. Our thanks to The Hudson River Museum. 8.12.5 |
 | Childe Hassam, "Union Square in Spring," 1896. Detail. Seen from a rooftop, the city is a delicate pattern of color and light. The tallest spire against the sky is Grace Church, at Broadway and 10th. See also UR-E-5. Copyright holder unknown. Possibly The Smith College Museum of Art, Northampton, MA 01063. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 17. 8.12.5 |
 | "A Busy Bee-Hive. Sectional view..." Montgomery Ward & Co., 1900. Chicago Historical Society, Clark Street at North Ave., Chicago, IL 60614-6071. All rights reserved. In "The Nineteenth Century," p. 245. |
 | Panorama of "New York & Environs" from John Bachman's "Nature on Stone," published in 1860. Seen in bird's-eye perspective, New York at the beginning of the 1860s was literally on top of the world. The perspective suggests an enthusiastic, if somewhat exaggerated, conception of the city's global consequence on the eve of the Civil War. Within a year or so the city's mayor, Fernando Wood, officially proposed that New York secede from the Union and set up on its own. Eno Collection. New York Public Library, 1211 Ave. of the Americas, New York, NY 10036. Our thanks to the NYPL. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 287. 8.12.5 |
 | "Dumping Ground at the Foot of Beach Street," a Stanley Fox drawing, 1866. "...A faithful picture representing an everyday scene at any of the great dumping grounds of the city. These nondescripts whom our artist has portrayed digging so busily and eagerly at this heap of rubbish live upon the refuse of respectable folk." The bones, coals and rags they collected were sold for a "meagre pittance" that was promptly spent, the article reported, "for a little bread and as much bad whiskey as can be bought." Harper's Weekly, Sept. 29, 1866. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 323. 8.12.5 |
 | An upper middle class neighborhood, Nantucket, MA, 1837. Compare this example of sidewalks' bringing together the street and community with that of the tenement district, UR-H-12. See also UR-H-14. Vincent Scully photo. Reproduced with permission of Greenwood Publishing Group, Inc., 88 Post Road West, Westport, CT 06881. All rights reserved. Our thanks to Greenwood. In Vincent J. Scully, "American Architecture and Urbanism," New York: Praeger Co., 1969, fig. 145. 8.12.5 |
 | The sidewalk is a late 19th century triumph. It brings the street together. 1901. See also UR-H-13. Robert Hunter, "Tenement Conditions in Chicago," New York: Garrett Press, Inc., 1901, p. 121. 8.12.5 |
 | Tenements, New York City, 1860. Copyright holder unknown. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 272. Author's collection. 8.12.5 |
 | C.S. Reinhart, "The Lunch Counter," 1873. Harper's Weekly, Sept. 27, 1873. Clark Art Institute, 225 South Street, Williamstown, MA 01267. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 342. 8.12.5 |
 | "Allen's Dance House," 1882. John Allen's Water Street dive was really pretty old stuff by 1880. Allen had been known in the sixties as "The Wickedest Man in New York" in spite of the fact that he had been a student at Union Theological Seminary and kept copies of the Bible in the upstairs rooms where his "girls" took their clients. In 1868 some of the city's most eminent clergymen got a lot of publicity by announcing they had converted him - but it turned out that they had merely rented his place for some revival meetings. James D. McCabe, "New York by Sunlight and Gaslight," 1882. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 362. 8.12.5 |
 | The Hoffman House Bar, in an ad for Hoffman House Bouquet Cigars, about 1883. The Hoffman House was one of the gayest and most splendid in the city, the haunt of prominent actors and wealthy businessmen. Everyone had heard about Bouguereau's scandalous painting of a nude surrounded by satyrs, which hung above the bar. In the center foreground are Grover Cleveland and Chauncey Depew; just over Cleveland's right shoulder is Buffalo Bill Cody. Courtesy of The Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to The Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 364. 8.12.5 |
 | "Shooting at the Elevated," a cartoon showing the gay New York girls enjoying "a little after-dinner pistol practice at the trains that rush by from the windows of their hotel." This picture shows the city as a gay place. Police Gazette, Dec. 23, 1882. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 362. 8.12.5 |
 | "Three Sheets in the Wind," 1886, purports to show a "gallant" member of the New York Yacht Club having "a picnic all his own in the private parlors of that 'swagger' institution." The Police Gazette, July 10, 1886. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 362. 8.12.5 |
 | An illustration of a "moral" tale about a young lady-killer who "was taken in and done for, like the veriest countryman, by a brace of sharp damsels and their male accomplice." City life, from a distance at least, looked increasingly exciting. National Police Gazette, July 26, 1879. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 345. 8.12.5 |
 | "Married Life in New York." This cartoon depicts "The Husband" working over a desk of papers and "The Wife" sipping champagne with a foppish dandy. From George Ellington's "The Women of New York" (1870), one of many publications that exploited the glamorous aspects of the city's wickedness. The women of the Metropolis are "boldly and truthfully unveiled." The "exposures" are made, of course, in the interests of reform and in hopes that women of the city may yet "become as celebrated for their virtues as those of rural districts throughout the land." Courtesy of The Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to the Museum. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 346. 8.12.5 |
 | "Mysteries and Miseries of America's Great Cities. New York, Washington, San Francisco, Salt Lake City, New Orleans." A devil-like figure pulls back the curtain on the demons and satyrs of the cities. 1893. James William Buel, "Metropolitan Life Unveiled," 1893, title page and subtitle. In Marshall B. Davidson and the Editors of American Heritage, "The American Heritage History of the Artists' America," 1973, p. 248. 8.12.5 |
 | The swirling activity of New York City in the 1850s. The artist depicts the intersection of Broadway and Fulton Streets. Most visitors gravitated here to see the whirling activity of traffic, the great shops, and especially Barnum's Museum, that unprecedented scramble of marvels and humbugs, to which such hordes of people came that Barnum had to devise some way to be rid of them. He disguised the exit, making it look like the entrance to another exhibit, and hung over it a sign that read, "To the Egress." Eager to get a look at this unheard-of monster, the yokels flocked out into the street. Harper's Weekly, 1857-60. In John A. Kouwenhoven, "Adventures of America," 1938, Plate 5. 8.12.5 |
 | View of Chicago from Lake Michigan, 1892, showing the phenomenal growth of Chicago in its first sixty years. Note the gridiron pattern of streets. The New-York Historical Society, 170 Central Park West, New York, NY 10024. In John W. Reps, "The Making of Urban America," Princeton University Press, Princeton, N.J., 1965, p. 303. 8.12.5 |
 | Concord, New Hampshire. As in other small cities where an aristocracy of wealth, based largely on increased land values, controlled factories that manufactured shoes, machines, and textiles, in Concord, the Walkers, Bradleys, Rolfes, and Eastmans held their inherited land while immigrants flooded into the factories at a rate that increased the population 150% in fifteen years. Harper's Weekly, 1857. In John A. Kouwenhoven, "Adventures of America," 1938, Plate 7. 8.12.5 |
 | Plan of Lowell, Massachusetts, 1832. Lowell, the first and most famous of the New England "mill towns," was built in 1822. The three canals that supplied power for the mills meet in the center of the picture. Just to the left of the canals' confluence are the boardinghouses for the female workers. The factories are the long buildings near the canals and the river. The rest of the town of Lowell lies to the right. Massachusetts Historical Society, 1154 Boylston St., Boston, MA 02215-3695. In John W. Reps, "The Making of Urban America," Princeton, 1965, p. 416. 8.12.5 |
 | Lawrence, Mass., 1856. The artist symbolizes the shift of the economy from the country to the town. The foreground still shows the delights of rusticity, if not of farm life, of green lawns, space, openness. The size of the sky dwarfs the industrial town and flattens it. The artist is ambivalent: he admires industrialism, is impressed by it, pays tribute to it, but cannot escape a love for other than industrial values. J.B. Bachelder drawing. Copyright holder unknown. Library of Congress Prints and Photographs Division, Washington, DC 20540. In Carl Bode, "Midcentury America," 1972, p. 53. 8.12.5 |
 | Elegant elevator car, 1881. Lit by gas through a flexible tube, this elevator car was also furnished with mirrors, ventilators, a sofa bench for ladies, and much carved and gilded woodwork. The operator pulled the rope up or down to start the flow of water through the valves below and move the car. Often called a vertical railway car, this first safety elevator for human cargo was installed in a Manhattan store in 1857 by Elisha Graves Otis. The earliest elevators were steam powered and lifted by ropes that wound around steel drums. After 1878 hydraulic cylinders provided a more even flow of power and extra safety. In "Era of Sentiment and Splendor: The Victorian Age," Life Magazine, Vol. 49, Oct. 24, 1960. Photos by Clarence J. Laughlin. 8.12.5, 11.2.6 |
 | Charles Parsons, "Railroad Suspension Bridge," 1856. This work is related to the new artistic tendencies. Note the role of the foreground and the total setting: the machine in the garden? Currier & Ives. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZC2-3301. In Umberto Eco, "Picture History of Inventions," 1963, p. 260. 8.12.5 |
 | Grand Central Station, built between 1869 and 1871 on 42nd St., New York City. It was paid for by Commodore Vanderbilt as the grand terminus of his New York Central system. The exterior façade is thought to echo the Louvre, and the inside is modeled on, and almost as large as, St. Pancras Station in London. At the time it covered the largest interior space in the U.S. Copyright holder unknown. Collection of David Hoffman. In Oliver O. Jensen, "American Album," 1968, pp. 120-21. 8.12.5 |
 | Fanny Palmer, The "Lighting Express" trains, "Leaving the Junction," 1863. Two trains run on parallel tracks, as though in a race. Currier & Ives. Courtesy of the Museum of the City of New York, 1220 Fifth Ave. at 103rd St., New York, NY 10029. Our thanks to the Musem. In Walton Rawls, "The Great Book of Currier and Ives' America," 1979, p. 238. 8.12.5 |
 | Delaware & Hudson Railroad Terminal, Albany, New York. It is now the central offices of the State University of New York. Roland Marchand photo, 1993. 8.12.5 |
 | Rev-p15-c03
"The Old '76 Still," with a lot of liquor being made. Lithograph, 1850-1900. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZ62-17649. |
“The Global Perspectives Scholar Series has been a great experience. I look forward to these series every school year. The staff and lectures are first rate.”
Duane Long
Teacher
Placer High School