 | Ralph Earl, "Marianne Drake," 1783, oil on canvas, 50 1/4 x 40 1/4 in. (127.6 x 102.2 cm) Copyright holder unknown. Count Charles de Salis, Switzerland. |
 | "The Genius of The Lady's Magazine" kneels before Columbia (Liberty) with a petition for "Rights for Women," 1792. Thacara & Valence, "Lady's Magazine and Repository of Entertaining Knowledge," Philadelphia, Dec. 1, 1792, frontispiece. The Library Company of Philadelphia, 1314 Locust St, Philadelphia, PA 19107. Our thanks to The Company. |
 | Caleb Bingham, "The Young Lady's Accidence," a textbook for girls, Boston, MA, 1803 Chicago Historical Society, Clark St at North Ave, Chicago, IL 60614-6071. |
 | "Phillis Wheatley," African-American poet, best-known poet in Revolutionary America, 1773, engraving Library of Congress Rare Book and Special Collections Division, Washington, DC 20540. LC-USZC4-5316 |
 | New Jersey women exercising the franchise between the 1776 Constitution and the 1807 law disenfranchising them Source unknown. |
 | "Scenes from a Seminary for Young Ladies," 1810-20, miniature panorama. Detail. Courtesy of The St. Louis Art Museum, 1 Fine Arts Dr, St. Louis, MO 63110. All rights reserved. Our thanks to The Museum. |
 | "Scenes from a Seminary for Young Ladies," 1810-21, miniature panorama, detail. Courtesy of The St. Louis Art Museum, 1 Fine Arts Dr, St. Louis, MO 63110. All rights reserved. Our thanks to The Museum. |
 | Unidentified artist, "George Washington Giving the Laws" Location unknown |
 | Edward Savage, "The Washington Family," 1796 Copyright National Gallery of Art, 2000B South Club Dr, Landover, MD 20785. The Andrew W. Mellon Collection. All rights reserved. www.nga.gov |
 | "Death of Washington Dec. 14, 1799," Currier and Ives, 1846 Fine Arts Museums of San Francisco, Golden Gate Park, 50 Hagiwara Tea Garden Dr, San Francisco, CA 94118 |
 | Jennie Bellows Millard, "Mount Vernon," 1850, oil on canvas, 24 x 32-1/8". In the Collection of the Corcoran Gallery of Art, 500 - 17th St NW, Washington, DC 20006. Accession Number 52.5. Gift of Mary Hastings Dickinson. All rights reserved. Our thanks to The Corcoran. |
 | John Trumbull, "General George Washington Resigning His Commission," 1824-1828, oil on canvas, 12' x 18' Architect of the Capitol. The Capitol Rotunda, Washington, DC, commissioned 1817; purchased 1824 |
 | Alexander Lawson after John James Barralet, "George Washington's Resignation," 1799, engraving Benjamin Davies, Philadelphia: 1799. New York Public Library, Fifth Ave & 42nd St, New York, NY 10018. |
 | Charles Willson Peale, Colonel George Washington in the uniform of the Virginia Regiment, 1772 Washington-Custis-Lee Collection, Reeves Center, Washington and Lee University, Lexington, VA 24450. |
 | Francis Jukes, "Mount Vernon in Virginia," 1800, aquatint, London, England Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-DIG-ppmsca-13282 |
 | Jean-Antoine Houdon, "Washington" as Cincinnatus (metamorphosis to citizen), 1785-88 Photographer unknown. The Rotunda, Virginia State Capitol, 1 Capitol Sq, Richmond, VA 23219 |
 | "Washington's Reception by the Ladies at Trenton, N.J.," April, 1789; Washington en route to his inauguration, 1845, print Location unknown |
 | Philadelphia Directory, 1796; includes "George Washington, President of the United States" Chicago Historical Society, Clark St at North Ave, Chicago, IL 60614-6071. |
 | Edward Savage, "George Washington," 1793, mezzotint on paper. Copyright National Portrait Gallery, Smithsonian Institution, PO Box 37012, Victor Building, Suite 8300 MRC 973, Washington, DC 20013-7012. www.si.edu. All rights reserved. NPG.70.10. Our thanks to the National Portrait Gallery. |
 | Horatio Greenough, "George Washington," 1840, detail National Museum of American History, 14th St and Constitution Ave, NW, Washington, DC 20560. www.si.edu |
 | Horatio Greenough, "George Washington," 1840 National Museum of American History, 14th St and Constitution Ave, NW, Washington, DC 20560. www.si.edu |
 | Horatio Greenough, "George Washington," 1840, detail National Museum of American History, 14th St and Constitution Ave, NW, Washington, DC 20560. www.si.edu |
 | George Washington print, 1830s, Salem Towne House parlor, Old Sturbridge, MA Shelburne Museum, 5555 Shelburne Rd, Shelburne, VT 05482. Karen Halttunen photo |
 | "Washington's Entry into New York on evacuation of the British," 1783, Currier and Ives, 1857, lithograph, hand-colored Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZC2-3310 |
 | Reuben Law Reed, "Washington and Lafayette at the Battle of Yorktown," Acton, MA, probably 1860-80, oil and gold paint on cotton twill canvas; unframed: 22 1/4 x 33 7/8 in. Courtesy of The Abby Aldrich Rockefeller Folk Art Museum, The Colonial Williamsburg Foundation, P.O. Box 1776, Williamsburg, VA 23187-1776. Gift of Abby Aldrich Rockefeller. 1931.101.1. All rights reserved. Our thanks to the Museum. |
 | Gilbert Stuart, "George Washington," after 1796, oil on canvas, 29-1/4 x 24".
In the Collection of the Corcoran Gallery of Art, 500 - 17th St NW, Washington, DC 20006. Accession Number 02.3. Gift of Mrs. Benjamin Ogle Tayloe. All rights reserved. Our thanks to The Corcoran. |
 | Rembrandt Peale, "Washington before Yorktown," 1824-1825, oil on canvas, 137-1/2 x 120". Mullein plant in foreground a symbol of heroism and courage. In the Collection of the Corcoran Gallery of Art, 500 - 17th St NW, Washington, DC 20006. Accession Number 44.1. Gift of the Mount Vernon Ladies Association, Mount Vernon, Virginia. All rights reserved. Our thanks to The Corcoran. |
 | Gilbert Stuart, "George Washington," 1795, oil on canvas, 76.8 x 64.1 cm (30 1/4 x 25 1/4 in.)
Copyright Metropolitan Museum of Art, 1000 Fifth Ave., New York, NY 10028-0198. Rogers Fund, 1907. http://metmus.org. All rights reserved. |
 | Gilbert Stuart, "George Washington," 1803 Copyright holder unknown. Metropolitan Museum of Art ? |
 | Gilbert Stuart, "George Washington (The Lansdowne Portrait)," 1796, oil on canvas. Courtesy of The National Portrait Gallery, Smithsonian Institution, PO Box 37012, Victor Building – Suite 8300 MRC 973, Washington, DC 20013-7012. All rights reserved. Acquired as a gift to the nation through the generosity of the Donald W. Reynolds Foundation. NPG.2001.13. Our thanks to The National Portrait Gallery. |
 | Horatio Greenough, "George Washington," 1840 National Museum of American History, Smithsonian Institution, 14th St and Constitution Ave, NW, Washington, DC 20560. www.si.edu |
 | "Lowell Offering," by "Factory Girls," 1845 American Textile History Museum, 491 Dutton St, Lowell, MA 01854 |
 | "Bloomer Costumes or Woman's Emancipation," a satirical Bloomer cartoon showing women smoking and with walking sticks, early 1850s In Harry T. Peters, "America On Stone," 1976. The Harry T. Peters "America on Stone" Lithography Collection, National Museum of American History, Smithsonian Institution, PO Box 37012, SI Building, Room 153, MRC 010, Washington, DC 20013-7012. |
 | Women at work in Oneida print shop (above) and bakery (below), NY, 1870 Frank Leslie's Illustrated Newspaper, 1870. In Robert Allerton Parker, "A Yankee Saint: John Humphrey Noyes and the Oneida Community," 1935 |
 | "The Old Story - 'I sold myself to a loveless thing,'" 1866 Harper's Weekly, 1866 |
 | Family group, c. 1852, daguerreotype; note middle-class possessions Daguerreotype, Antoine Claudet. Courtesy of The George Eastman House International Museum of Photography and Film, 900 East Ave, Rochester, NY 14607. All rights reserved. We are grateful to The George Eastman House for its generosity. |
 | Woman nursing man, 1866, drawing Harper's Weekly, 1866 |
 | George Washington with officers: in 1848 with liquor toast, 1876 without; Currier and Ives prints: "Washington Taking Leave of the Officers of His Army: at Francis's Tavern, Broad Street, New York, Decr. 4th. 1783," hand-colored lithograph Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZC2-3165. In Walton Rawls, "The Great Book of Currier and Ives' America," 1979, pp. 40-1 |
 | "Lola Montez," an image of non-gentility: cigarette and walking gloves, Boston, MA, 1851, daguerreotype Daguerreotype, Albert Sands Southworth and Josiah Johnson Hawes. Copyright holder unknown. (Benedikt Taschen Verlag, Köln?) |
 | Ad, Glove-Fitting Corset, 1871 Location unknown. In Bob Perlongo, ed., "Early American Advertising," 1985, p. 8 |
 | Clark's O.N.T. Thread, "mother's love," c. 1885, trade card Collection of Robert Jay. In Robert Jay, "The Trade Card in Nineteenth Century America," (Columbia: University of Missouri Press, 1987), fig. 72 |
 | Madame Dean's Spinal Supporting Corsets, 1885, ad; offered by angels Location unknown. In Bob Perlongo, ed., "Early American Advertising," 1985, p. 111 |
 | Fashion ads, c. 1895? Location unknown |
 | Brunswick Billiards, Chicago, IL, 1873, ad poster; three women and a little girl play billiards under a portrait of five company officers, all male Brunswick Billiards, Inc., 1 N Field Ct, Lake Forest, IL 60045-4811 |
 | Mrs. S. A. Allen's Hair Restorer, New York, c. 1860; ad poster Location unknown |
 | Miscellaneous ads: stove polish, cake tins, sewing machines, stocks, 1896 Location unknown. In Bob Perlongo, ed., "Early American Advertising," 1985, p. 44 |
 | "Steam Washer or Woman's Friend," Pittsburgh, PA, ad poster, 1890? Location unknown |
 | H.W. Pierce, "A New England Kitchen, A Hundred Years Ago," Centennial Exposition, Philadelphia, PA, 1876 Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZ62-1857 |
 | "Ye Olde Tyme" Restaurant, from the World's Columbian Exposition, Chicago, IL, 1893 Copyright The Smithsonian Institution, PO Box 37012, SI Building, Room 153, MRC 010, Washington, DC 20013-7012. www.si.edu. All rights reserved. |
 | Miss Lucretia Deming, Litchfield, CT, c. 1890; colonial revival photo portrait; unidentified photographer Copyright holder unknown. Collection of William Butler. In Alan Axelrod, ed., "The Colonial Revival in America," 1985, p. 40 |
 | "Oh, my God! Am I going to be ill?," 1860, drawing Harper's Weekly, April 21, 1860 |
 | Lecture room at a women's homeopathic medical college, New York City, 1870, drawing Frank Leslie's Illustrated Weekly, New York, April 16, 1870. In Richard W. Wertz and Dorothy C. Wertz, "Lying-In: A History of Childbirth in America," 1977, p. 53 |
 | "Football Kicking Maidens," 1895, drawing National Police Gazette, June 22, 1895, cover. In Michael Oriard, "Reading Football: How the Popular Press Created an American Spectacle," 1993, p. 195 |
 | Unidentified artist, "Two Women Hunting Wild Fowl," c. 1885 Godey's Lady's Book, c. 1885 |
 | Charles Dana Gibson, "The Coming Game," women playing football, 1895 Life Magazine, 1895. In Michael Oriard, "Reading Football: How the Popular Press Created an American Spectacle," 1993, p. 195 |
 | "The Age of Iron," Currier and Ives, 1869; fear of gender role reversal Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZC2-1922 |
 | Ad, Whitely Exerciser for women, 1897 Ladies Home Journal, Dec., 1897, p. 43 |
 | Winslow Homer, "Croquet Scene," 1866, oil on canvas, 40.3 x 66.2 cm (15 7/8 x 26 1/16 in.)
Copyright Art Institute of Chicago, 111 So. Michigan Ave, Chicago, IL 60603-6110. Friends of American Art Collection; Goodman Fund, 1942.35. All rights reserved. |
 | Charlotte and Susan Cushman as Romeo and Juliet, c. 1846, lithograph Harvard Theatre Collection, Houghton Library, Harvard University, Cambridge, MA 02138. |
 | Charlotte Cushman as Lady Macbeth, c. 1847 Harvard Theatre Collection, Houghton Library, Harvard University, Cambridge, MA 02138. |
 | Charlotte and Susan Cushman as Romeo and Juliet, c. 1846, drawing Harvard Theatre Collection, Houghton Library, Harvard University, Cambridge, MA 02138. |
 | Fanny Kemble in six different characters, a "penny plan" sheet for toy theater, c. 1838, drawing Harvard Theatre Collection, Houghton Library, Harvard University, Cambridge, MA 02138. |
 | Adelaide Ristori, Italian actress, as Medea, 1866, drawing
Harvard Theatre Collection, Houghton Library, Harvard University, Cambridge, MA 02138. |
 | William Wetmore Story, "Sappho," 1863, marble, overall: 139.4 x 81.6 x 86.4 cm, 952.6 kg (54 7/8 x 32 1/8 x 34 in., 2100 lb.), overall: 94 cm (37 in.)
Karen Halttunen photo. Museum of Fine Arts, 465 Huntington Ave, Boston, MA 02115-5523. Otis Norcross Fund, 1977. Accession number: 1977.772. |
 | William Wetmore Story, "Sappho," 1863, marble; overall: 139.4 x 81.6 x 86.4 cm, 952.6 kg (54 7/8 x 32 1/8 x 34 in., 2100 lb.), overall: 94 cm (37 in.)
Karen Halttunen photo. Museum of Fine Arts, 465 Huntington Ave, Boston, MA 02115-5523. Otis Norcross Fund, 1977. Accession number: 1977.772. |
 | Vinnie Ream, "Sappho," c. 1870, marble, 66 3/8 x 23 7/8 x 21 in. (168.4 x 63.5 x 53.2 cm.) Karen Halttunen photo. Smithsonian American Art Museum, MRC 970, PO Box 37012, Washington, DC 20013-7012. Gift of Brigadier General Richard L. Hoxie. 1915.6.1. www.si.edu |
 | William Wetmore Story, "Medea," 1868, marble, 82 1/4 x 26 3/4 x 27 1/2 in. (208.9 x 67.9 x 69.9 cm)
Karen Halttunen photo. Metropolitan Museum of Art, 1000 Fifth Ave., New York, NY 10028-0198. Gift of Henry Chauncey, 1894 (94.8a–d). http://metmus.org. |
 | Enrico Braga, "Cleopatra," c. 1875 Edward Strahan (Earl Shinn), "The Masterpieces of the Centennial International Exhibition," Vol. 1: Fine Art, 1876, p. 143. Philadelphia: Gebbie and Barrie. Library of Congress, Washington, DC. In Joy S. Kasson, "Marble Queens and Captives," 1990, fig. 102 |
 | Nicaise de Keyser, "Murder of the Innocents," c. 1866, engraving Copyright holder unknown. In Joy S. Kasson, "Marble Queens and Captives," 1990, fig. 98 |
 | "Doll components that fractionalized and distorted the adult female shape with an already imprinted corset," 1880 Patent and Trademark Office, US Dept. of Commerce, 1401 Constitution Ave, NW, Washington, DC 20230 |
 | Winslow Homer, "The Summit of Mount Washington," 1869, engraving, 9 x 13.5
Harper's Weekly, July 10, 1869. Butler Institute of American Art, 524 Wick Ave, Youngstown, OH 44502. 964-P-105 |
 | Anna and Dorothy Greene atop Mt. Monadnock, NH, 1908. Frederick W. Greene photo. Copyright holder unknown. In Susan Mahnke, ed., "Looking Back: Images of New England 1860-1930," Yankee Publishing Inc., PO Box 520, Dublin, NH 03444, 1982, p. 119 |
 | A young woman reclines in the Devil's Armchair, Seabury, ME, 1890-93. Copyright holder unknown. Frederick B. Quimby photo. In Susan Mahnke, ed., "Looking Back: Images of New England 1860-1930," Yankee Publishing Inc., PO Box 520, Dublin, NH 03444, 1982, p. 60. |
 | The Women's Building, Chicago World's Columbian Exposition, 1893, after a Charles Graham watercolor. Chicago Historical Society, Clark Street at North Ave., Chicago, IL 60614-6071. In Peter C. Marzio, The Democratic Art, 1979, Plate 128. 8.6.6 |
 | "The Drunkard's Progress," c. 1846. Early 19th century Temperance painting. Fear, laced with appeals to the conscience, was the main weapon of temperance leaders of this period and later who endeavored to make Americans forswear the bottle. "Step 1: A glass with a friend. Step 2: A glass to keep the cold out. Step 3: A glass too much [weaving]. Step 4: Drunk and riotous [policeman with club]. Step 5: The summit attained...Jolly companions...A confirmed drunkard. Step 6: Poverty and Disease [with cane]. Step 7: Forsaken by Friends. Step 8: Desperation and crime [with gun]. Step 9: Death by suicide." The rise of social disorder, with burgeoning slums, impoverished families, increases in crime, prostitution and Sabbath-breaking, was seen by many as the result of drink. Aside from the penitentiary and its supposed influence through fear, another means of crime prevention was the temperance movement. "Drink is the cause: stop crime and poverty at their source." Temperance tales paint the drinker as not only immoral and sinful but also unsuccessful: the drunkard loses devotion to work, his reputation for reliability, and his job. 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. 8.6.6 |
 | T.S. Arthur, "Ten Nights in a Barroom," 1854. The first of a series of four slides. Little Mary begs, "Father, Won't you come home?" In these temperance speakers' slides we can see the grief caused by his refusal to come home. Use of the Chautauqua circuit. Shows a torrent of violence unleashed by Demon Rum. See also TE-A-4,5,6. In American Heritage, June 1964, Vol. XV, p. 14. 8.6.6 |
 | "Ten Nights in a Barroom." 1854. Slide 2. Tavernkeeper Slade tries to eject Joe Morgan from his bar. He hurls a glass, striking the innocent brow of Morgan's daughter, Mary, who has come to fetch her father. See also TE-A-21. In American Heritage, June 1964, Vol. XV, p. 14. 8.6.6 |
 | "Ten Nights in a Barroom." 1854. Slide 4. The fourth night, Mary's life ebbs away. Father promises never to touch another drop. "Oh, father! dear, dear father," the child cries out with joy, and expires. See also TE-A-21. In American Heritage, June 1964, Vol. XV, p. 14. 8.6.6 |
 | Illustration, "The Bottle and the Pledge," tells the terrible tale of the Latimer family. The first drink leads to poverty and sodden ruin. After Latimer kills his wife, his forbearing children visit him in the madhouse. Drink was seen as a cause of madness, and here the drinker loses reason and becomes insane. In the 1830s and especially the 1840s the temperance movement got a new sense of urgency from the growth of crime and slums. Temperance workers believed society must be saved, and reached out with that message and new methods, eventually including the magic lantern show. The message was that drink, intemperance, destroyed family and discipline, and that liquor traffic needed to be declared criminal since moral suasion alone was ineffective. Coercion needed to be legal. (The Washingtonian Movement was launched in the 1840s by 6 reformed drunks of Baltimore. By 1855, 31 states had outlawed alcoholic drink. Then these virtuous triumphs were swept away by the Civil War.) Timothy S. Arthur, "Six Nights with the Washingtonians," 1871. In Richard Ketchum, ed., "The American Heritage Book of The Pioneer Spirit," 1959, p. 260. 8.6.6 |
 | "The Whiskey Dragon." A temperance painting depicting "stillers" as villains, c. 1860. William Dodge, President of the National Temperance Society 1865-83, brought this work to the U.S. from England. National Woman's Christian Temperance Union, 1730 Chicago Ave., Evanston, IL 60201-4585. In Mary Cable and the Eds. of American Heritage, "American Manners and Morals," 1969, pp. 254-5. 8.6.6 |
 | "The Fruits of Temperance," c. 1848. A harmonious, healthy, middle-class white family enjoy their home in a beautiful, prosperous landscape, all unsullied by alcohol. Currier & Ives. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZC2-2380. 8.6.6 |
 | "A Moral and Physical Thermometer: A scale of the progress of temperance and intemperance. Liquors, with their effects, in their usual order." Scale at left. At top: "Water, Milk, Small Beer, Cider, Wine, Porter, Strong Beer, Punch, Toddy, Grog." At bottom: "Rum, Gin, Brandy, Whiskey." Top right: "TEMPERANCE - Health, Wealth, Serenity of mind, Reputation, long life, Happiness." Next set: "Cider to Strong Beer - Cheerfulness, Strength and Nourishment, when taken only at meals and in moderate quantities. INTEMPERANCE - Vices: Idleness, Peevishness, Quarreling, Fighting, Lying, Swearing, Obscenity, Fraud, Anarchy, Hatred of government, Murder, Suicide. Diseases: Sickness, Puking and tremors of the hands in morning, Bloatedness, Inflamed eyes, Red nose and face, Jaundice, Pains in the Limbs & burning in the palms of the hands, soles of the feet, Dropsy, Epilepsy, Melancholy, Idiotism, Madness, Palsy, Apoplexy, Death. Punishments: Debt, Black eyes, Rags, Hunger, Hospital, Poor-house, Jail, Whipping-post, Wheelbarrow, Gallows." The New-York Historical Society, 170 Central Park West, New York, NY 10024. In Mary Cable and the Eds. of American Heritage, "American Manners and Morals," 1969, p. 74. 8.6.6 |
 | "Temperance Grocery." A lad is apprehended for intemperate behavior. Sunday School Union Publications. The Historical Society of Pennsylvania, 1300 Locust St., Philadelphia, PA 19107. In Mary Cable and the Eds. of American Heritage, "American Manners and Morals," 1969, p. 184. 8.6.6 |
 | "The Whiskey Dragon." Still owners are portrayed as villains, ca. 1860. (Wm. Dodge of National Temperance Society?) See also TE-A-11. National Woman's Christian Temperance Union, 1730 Chicago Ave., Evanston, IL 60201-4585. In Mary Cable and the Eds. of American Heritage, "American Manners and Morals," 1969, pp. 254-5. 8.6.6 |
 | Detail, "The Whiskey Dragon." Still owners are portrayed as villains. See also TE-A-17. National Woman's Christian Temperance Union, 1730 Chicago Ave., Evanston, IL 60201-4585. In Mary Cable and the Eds. of American Heritage, "American Manners and Morals," 1969, pp. 254-5. 8.6.6 |
 | Nathaniel Currier, "The Bible and Temperance," lithograph, 1835-1856. Early temperance associations were cold-water legions with cold-water hymnals. Temperance was an outstanding attempt of the American church to act as a vehicle for social reform. In the picture, the drunkard has steadily degenerated. He has lost his job and reputation, has become idle and dissolute, and has dragged his family into poverty. The minister comforts the wife and children by reading the Bible. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZC2-2011. In Carl Bode, "Midcentury America," Southern Illinois University Press, 1972, p. 161. 8.6.6 |
 | "Temperance at last invades Slade's sink of iniquity." From the series, "Ten Nights in a Barroom." Assembling at the Sickle and Sheaf on the Tenth Night, the town votes to outlaw alcohol. One temperance advocate: "You must cut off the fountain if you would dry up the stream." The narrator recognizes the speaker; he is none other than Joe Morgan. The series is told by a traveller who visits the rural hamlet of Edgarville during ten nights scattered over a decade. At the Sickle and Sheaf tavern on the first night, the traveler is impressed by the neat lodging and friendly landlord, but the scene is marred by the sight of the drunkard, Joe Morgan, and furtive nips taken in the bar by the tavern keeper Simon Slade's son, 12-year-old Frank. The slides start with TE-A-3. In the meantime, between Mary's death and the end, another youth is stabbed in a card game, a mother dies of heartbreak, a gambler is killed by a crowd, the tavern owner is mauled, the Slades fight, and Frank assaults and kills his father with a brandy bottle. See also TE-A-3,4,5,6. In American Heritage, June 1964, p. 17. 8.6.6 |
 | Temperance tactics, c. 1874. These matrons of Xenia, Ohio have recently left a temperance meeting in the local Presbyterian church and are now visiting Klein's "Confectionary and Toy Store," where ale and whiskey are the chief stock in trade. Having sung "Shall We Gather At The River?" they commence tearful praying, to which the voluble Mrs. Klein provides an indignant obbligato: "O Lord, we come not in our own strength..." Harper's Weekly, c. 1874. In John A. Kouwenhoven, "Adventures of America 1857-1900," 1938, Plate no. 144. 8.6.6 |
 | "Ten Nights in a Bar-room." Little Mary is struck down by demon rum. "Father! dear father! They have killed me!" A city slicker with a cigar is present; a woman holds the falling Mary. See also TE-A-3, 21. Harvard Theatre Collection, Houghton Library, Harvard University, Cambridge, MA 02138. In Robert Toll, "On With The Show," 1976, p. 152. 8.6.6 |
 | The Pledge, Washington Temperance Benevolent Society. "This is to certify that_____is a member of the Washington Temperance Benevolent Society in good standing with his brethren in the cause and hereby recommended to the respect and consideration of all whom it may concern." Pictures on either side of "The Pledge" depict the making and drinking of liquor; in the center, the man proudly brings home the pledge to his wife. 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 Walton Rawls, A Great Book of Currier and Ives' America, 1979, p. 452. 8.6.6 |
 | "Son of Temperance...The Pledge," 1848. A man in dress clothes stands in front of a curtain next to a scroll: "No BROTHER Shall Make, Buy, Sell or Use as a Beverage any spirituous or malt liquors, wine or cider." Nathaniel Currier. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZ62-2850. In Walton Rawls, "A Great Book of Currier and Ives' America," 1979, p. 450. 8.6.6 |
 | "Washington Taking Leave of The Officers of His Army," with a bottle of port. c. 1848. See also TE-A-26 for the non-alcoholic version. Currier & Ives. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZC2-3165. In Walton Rawls, "The Great Book of Currier and Ives' America," 1979, p. 40. 8.6.6 |
 | "Washington Taking Leave of The Officers of His Army," - with no bottle of port. The temperance version. See also TE-A-25. Currier & Ives? Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZC2-3165. In Walton Rawls, "The Great Book of Currier and Ives' America," 1979, p. 41. 8.6.6 |
 | "The Drunkard's Progress/From the First Glass to the Grave," c. 1846. In the bottom center, the wife and daughter are weeping outside the house; the house is burning. In the distance is a building that looks like a prison. "Step 1. A glass with a friend. Step 2. A glass to keep the cold out. Step 3. A glass too much. Step 4. Drunk and riotous. Step 5. The summit attained...Jolly companions...A confirmed drunkard. Step 6. Poverty and disease. Step 7. Forsaken by Friends. Step 8. Desperation and Crime. Step 9. Death by suicide." Currier & Ives. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZC4-1629. In Walton Rawls, "A Great Book of Currier and Ives' America," 1979, p. 467. 8.6.6 |
 | Jenny Lind's arrival, 1850. The first of two views: This is the positive view; men wear top hats and women long dresses. A great event, but sedate. See also SP-A-29. New-York Historical Society, 170 Central Park West, New York, NY 10024. In Neil Harris, Humbug: The Art of P.T. Barnum, 1973, p. 126. 8.4.4, 8.6.6 |
 | "The Grand Opening," detail from a Nathaniel Currier lithograph celebrating Jenny Lind's first appearance at Castle Garden, Sept. 11, 1850. The Tribune: Jenny was "rather more robust in face and person than her portraits would indicate." Note: Her farewell concert was held in Castle Garden, May 24, 1852. 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 Walton Rawls, A Great Book of Currier and Ives' America, 1979, p. 144. 8.4.4, 8.6.6 |
 | Living statuary. Posing as classical statuary provided an early excuse for displaying women's bodies in the theater; this woman posed as Power's The Greek Slave. During the 1847-8 theater season in New York City, women wearing only revealing tights began posing as "living statuary," portraying classical subjects and famous sculptures. This facade of culture was a rationalization for girlie shows. Other living statuary portrayed Psyche Going to the Bath and Venus Rising From the Sea. Huge audiences, especially of common people, and especially men, suddenly discovered the beauties of classical art in these tableaux vivants. Theatre Collection, The New York Public Library,, 1211 Ave. of the Americas, New York, NY 10036. In Robert C. Toll, On With The Show, 1976, p. 209. Our thanks to the NYPL. 8.4.4, 8.6.6 |
 | Women's dress, fashions for the Centennial Exhibition, Philadelphia, 1876. Such gowns must have been unbearably hot and uncomfortable in the 90-degree weather. Peterson's Magazine, 1876. In Richard Nicolai, "Centennial Philadelphia," 1976, p. 33. 8.6.6 |
 | Some of the first women medical students. Bellevue Hospital, New York City. This photo, c. 1888, holds a place in the history of American photography comparable to that held in painting by Thomas Eakins' "The Gross Clinic" (1875) and "The Agnew Clinic" (1889). Collection of T. Anthony Caruso. In John A. Kouwenhoven, "Columbia Historical Portrait of New York," 1953, p. 378. 8.6.6 |
 | Female criminals. A page from "Professional Criminals of America" by Inspector Thomas Byrnes, chief of the New York Detective Force, 1886. The records of women criminals suggest problems presented by the increased mobility of the population. Mary Hollbrook, for example, had presided over Buck Hollbrook's sporting house in Chicago until he was shot in 1871. Afterward she was arrested in Boston, Chicago and New York, where she served part of a long term on Blackwell's Island until she turned stool pigeon on "Mother" Mandelbaum, the notorious "fence," and won a pardon from Governor Cleveland. Margret Brown operated in Chicago, St. Louis, Philadelphia, Boston and other cities as well as New York. 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. 389. 8.6.6 |
 | "WISER THAN WE SEEM...Miss W. (from Boston): 'Why, Ella, how delightful! Here's a complete set of Moliere.' ELLA: 'Molly Eyre?' MISS W: 'Yes, I never supposed you cared for that sort of reading.' ELLA: 'Indeed I do, I just dote on her!' The idea of young ladies having any literary interest was ridiculed by [male] cartoonists at the turn of the century." "The Good Things of Life," second series, 1886. In William Cole, "Women are Wonderful," 1956, p. 121. 8.6.6 |
 | "Get Thee Behind Me, (Mrs.) Satan!" "Wife (with heavy burden): 'I'd rather travel the hardest path of matrimony than follow your footsteps.'" 1872. Thomas Nast shows the colorful exponent of free love, Victoria Woodhull, as a devil being spurned by an overburdened woman who chooses the rocky path instead of Miss Woodhull's proffered primrose one. Thomas Nast cartoon. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZ62-74994. In William Cole, "Women are Wonderful," 1956, p. 87. 11.3.3, 8.6.6 |
 | "The celebrated Mrs. M.E. Southworth Braddon Cobb, engaged in writing her last new sensation novel, to contain 25 elopements, 43 separations from 'Bed and Board,' and 742 divorces for neglect, adandonment, etc., etc., etc." The Female Genius, especially the literary kind such as Mrs. Hale represented, came in for her measure of cruel cartooning. c. 1851? Yankee Notions, a humor magazine. In Richardson Wright, "Forgotten Ladies," 1928, p. 193. 11.5.4, 8.6.6 |
 | "The Parson was all broke up" to find his lady boarders puffing cigarettes. Cartoon, 1886. In 1904 a woman was arrested for smoking openly on Fifth Avenue, New York City. Culver Pictures, 150 West 22nd St., Ste. 300, New York, NY 10011. In Oliver O. Jensen, "The Revolt of American Women," 1971, p. 158. 8.6.6, 11.3.3 |
 | "New York Against Boston for the Championship." A bit of cartoon prognostication from 1887. Life Magazine, 1887. Time Inc., 1271 Avenue of the Americas, New York, NY 10020-1393. In William Cole, "Women are Wonderful," 1956, p. 67. 8.6.6 |
 | "The Age of Brass/or the Triumphs of Women's Rights," cartoon, 1869. Various types of dangerous feminists. "Vote for the Celebrated Man Tamer…Rights for Women…for Sheriff Miss Hang Man…" Two women smoke cigars; at the side, a man holds a baby. Currier and Ives. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZC2-1921. In Walton Rawls, "A Great Book of Currier and Ives' America," 1869, p. 457. 8.6.6 |
 | "An Inauguration of the Future." Man's place is that of baby-tender in this 1897 cartoon. William H. Walker cartoon, Life Magazine, 1897. In William Cole, "Women are Wonderful," 1956, p. 90. 8.6.6 |
 | "A GREAT NUISANCE...DASHING YOUNG LADY: 'Will you allow me, Sir, the honor of escorting you home?' MODEST YOUNG GENTLEMAN: 'I thank you, Miss. I will not trouble you. Mamma promised to send the carriage for me.'" 1852. Cartoon depicting men as the weaker sex, a theme that was to become a favorite with the cartoonists. Harper's Weekly, 1852. In William Cole, "Women are Wonderful," 1956, p. 84. 8.6.6 |
 | "Convention of the Husband Reform Club. Subject for discussion at this meeting - how to make the home more attractive." Cartoon, 1896. Life Magazine, Vol. 27, 1896, pp. 58-9. In William Cole, "Women are Wonderful," 1956, p. 91. 8.6.6 |
 | A women's rights convention as it appeared to a cartoonist in 1859. Note the varied stereotypes of women. Harper's Weekly, 1859. In William Cole, "Women are Wonderful," 1956, p. 85. 8.6.6 |
 | "WOMAN'S EMANCIPATION." The first American Woman's Rights Convention took place in Seneca Falls, New York, in 1848, organized by Lucretia Mott and Elizabeth Cady Stanton. It was there that Amelia Jenks Bloomer showed up in her highly individual costume, adding a new word, "bloomers," to the language. Cartoon, 1851. Punch, 1851. In William Cole, "Women are Wonderful," 1956, p. 84. 8.6.6 |
 | "Halloo! Turks in Gotham," from "Bloomerism in Practice." Cartoon, 1851. "Mrs. Turkey, having attended Mrs. Oakes-Smith's lecture on the Emancipation Dress, resolves at once to give a start to the New Fashion and in order to do it with more Effect, she wants Mr. Turkey to join her in this bold Attempt." Elizabeth Oakes-Smith was a feminist and abolitionist. The husband wears bloomers; the sex roles are reversed. Mrs. Turkey has a pair of daggers, and Mr. Turkey only a fork, spoon and cooking pot. The cross is gone from the steeple, a fit sign of the "fact" that the reformers want to abolish Christian customs and substitute the abominations of the East. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZ62-89604. In Carl Bode, "Midcentury America," 1972, p. 206. 8.6.6 |
 | New York "Belle," whose upper and lower "falsies" are ridiculed in this 1846 lithograph by H.R. Robinson. At left, the woman promenades before A.T. Stewart's new store on Broadway. 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. 177. 8.6.6 |
 | "The Discord," 1865. Cartoon. A marriage dispute over who wears the pants. "Fight courageous for sovereign authority, neighbor, or your wife'll do to you as mine has done to me - she'll pull your hair off your head and compel you to wear a wig!" Child: "Oh, Mamma, please leave my Papa his Pants." Husband: "Rather die! than let my wife have my pants. A man ought to always be the ruler." Wife: "Sam'y help me! Woman is born to rule and not to obey those contemptible creatures called men!" Daughter: "Oh, Pa, let go, be gallant or you'll tear 'em." Woman: "Bravo, Sarah. Stick to them, it is only us which ought to rule and to whom the pants fit best." The New-York Historical Society, 170 Central Park W, New York, NY 10024. In Mary Cable and the Eds. of American Heritage, "American Manners and Morals," 1969, p. 199. 8.6.6 |
 | The steel-engraving lady, a model of early 19th century American beauty. Slender, with pinched waist, frail, sickly, with her head turned to one side, she is ready to faint. Harry T. Peters Lithography Collection. The Smithsonian Institution, PO Box 37012, SI Building, Room 153, MRC 010, Washington, DC 20013-7012. In Lois Banner, "American Beauty," 1983, Plates 3 & 4. 8.6.6 |
 | Fanny Elssler in the Shadow Dance. The ballerina was the essence of the steel-engraving lady, the early 19th century standard of beauty. c. 1834. Harry T. Peters Lithography Collection. The Smithsonian Institution, PO Box 37012, SI Building, Room 153, MRC 010, Washington, DC 20013-7012. In Lois Banner, "American Beauty," 1983, Plate 10. 8.6.6 |
 | Anna Held, 1897. The sultry soubrette (flirt) was Florenz Ziegfeld's major contribution to American standards of beauty before he introduced the Ziegfeld Girl. Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-USZ62-54859. In Lois Banner, "American Beauty," 1983, Plate 26. 8.6.6 |
 | "The Woman in Society." 1897. Women in elaborate dress are shown in huge cloaks and headpieces; men wear top hats. At the side, middle class spectators look on in awe. No. I in "A Series of Typical Sketches" of "The American Woman," by Alice Barber Stephens. Ladies Home Journal, Jan. 1897, cover. 8.6.6 |
 | "The Woman in Religion." 1897. A woman, perhaps a deaconess in clerical dress, reads aloud by the bedside of an elderly woman. A girl sits on the floor, with the deaconess's hand resting on her shoulder, and another woman sits in a chair nearby, sewing. No. II in "A Series of Typical Sketches" of "The American Woman," by Alice Barber Stephens. Ladies Home Journal, March 1897, cover. 8.6.6 |
 | "The American Girl in Summer." 1897. Three women with parasols and flowered hats sit on a porch or gazebo by a beach. No. IV in "A Series of Typical Sketches" of "The American Woman," by Alice Barber Stephens. Ladies Home Journal, July 1897, cover. 8.6.6 |
 | "The Woman in Business." 1897. At a department store millinery counter, well-dressed women are looking at scarves and clothes while saleswomen in black show the goods. The girl in the foreground looks like an errand-girl. Note the clear class differentiation. Which is the woman in business? The consumer? The saleswoman? Being in business then, at the turn of the century, was quite a come-down and such a woman could never be "in Society." No. V in "A Series of Typical Sketches" of "The American Woman," by Alice Barber Stephens. Ladies' Home Journal, Sept. 1897, cover. 8.6.6 |
 | "The Beauty of Motherhood." 1897. A woman is sitting on a piano chair next to a piano. Her baby, about a year old, sits on her lap and looks at her lovingly. The child's ball lies on the floor, forgotten. No. VI in "A Series of Typical Sketches" of "The American Woman," by Alice Barber Stephens. Ladies Home Journal, Nov. 1897, cover. 8.6.6 |
 | The gentlewoman who consented to go or who was carried to America did well to forget the lessons in Richard Brathwaite's manual of deportment. Seventeenth-century life would offer few opportunities for such virtues as Grace and Gentility. 1631. Radio Times Hulton Picture Library, Getty Images, Inc., 601 North 34th St., Seattle, WA 98103. In Mary Cable and the Eds. of American Heritage, "American Manners and Morals," 1969, p. 53. 8.6.6 |
 | "'Bust Beauty' and an hourglass figure were guaranteed to every flat-chested client willing to invest in a ten-dollar home course." 19th century. The New-York Historical Society, 170 Central Park West, New York, NY 10024. In Mary Cable and the Eds. of American Heritage, "American Manners and Morals," 1969, p. 239. 8.6.6 |
 | "THE TRAILING SKIRT - DEATH LOVES A SHINING MARK...typhoid fever... consumption... influenza..." A comment on fashion idiosyncrasies by Samuel D. Ehrhart. The dustcatching skirt of that period inspired this grim warning. 1900. Samuel D. Erhart, “The Trailing Skirt: Death Loves A Shining Mark,” Puck, August 8, 1900. In William Cole, "Women are Wonderful," 1956, p. 13. 8.6.6 |
 | "THE ENVY OF THE ALLEY - an Easter hat and a bunch of violets." Slum children of the 1890s in a touching portrayal by M.A. Woolf. 1899. M.A. Woolf, "Sketches of Lowly Life," 1899. In William Cole, "Women are Wonderful," 1956, p. 14. 8.6.6 |
 | "OUR AMERICAN GIRLS ARE CAPTURING THE HOUSE OF LORDS - A sure guarantee of peace between America and England." This C. J. Taylor cartoon is one of many that appeared in the American press, 1890-1915, about the "Dollar Princesses" - wealthy American girls who went to Europe in search of titles. The social stamp of approval on duke-hunting came when Consuelo Vanderbilt married the Duke of Marlborough in 1895. Puck, 1895. In William Cole, "Women are Wonderful," 1956, p. 50. 8.6.6 |
 | "This young lady feels confident that her lawn tennis reduces her fat, but she always will play in a violent way and she knocks what she hits very flat." Tennis became a popular sport for women in the 1870s, as seen in this A.B. Frost cartoon. In William Cole, "Women are Wonderful," 1956, p. 67. 8.6.6 |
 | "CONEY ISLAND." Before the Civil War it was unheard of for women to participate actively in sports, except for a bit of ice skating. Things were lively out at Coney Island by the 1870s. Puck, 1870s. In William Cole, "Women are Wonderful," 1956, p. 66. 8.6.6 |
 | "AN IMPORTANT POINT. 'I'm afraid we are little slow yet.' 'Possibly; but I'm sure we don't look slow!' A cartoonist of the 1890s, Frank A. Nankivell, thinks that with the fair sex form has always been extremely important in sport. Puck, Jan. 1900. In William Cole, "Women are Wonderful," 1956, p. 68. 8.6.6 |
 | A New York teacher of the early 1840s, Miss Sarah Elizabeth Holden. The high window suggests a school. Like the majority of public schools in New York during the 1830s and '40s, this school was held in the basement of a church or some other large building. She is teaching the class with the aid of a phonetic chart. 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. 173. 8.6.6 |
 | Ad, Julia Gardner, soon to become the wife of President Tyler. 1840. Even pictures of society belles were likely to have commercial overtones. Bogert & Mecamly. 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. 177. 8.6.6 |
 | Charles Dana Gibson, Gibson Girls, "The Weaker Sex," 1903. The Swann Gallery of Caricature and Cartoon, Library of Congress Prints and Photographs Division, Washington, DC 20540. LC-DIG-ppmsc-05887. In American Heritage, IX, 1, Dec. 1957, p. 85. 8.6.6 |
 | Charles Dana Gibson, Gibson Girls, "The Weaker Sex" at the beach, 1903. In American Heritage, IX, 1, Dec. 1957, p. 84. 8.6.6 |
 | "The American Girl." 1892. Poem: "The American Maiden, sing ho! / Is the boss of the world, don't you know! / She repels melancholy / She's spunky and jolly / And brisk as the breezes that blow. / You may think other maidens sublime / Who live in a far foreign clime / But the voice of the earth / Says the girl who has birth / In the States is on top ev'ry time. / She'll quicken the heart in a whirl / Of the most pachydermatous churl / Disturbing and joking / All mankind provoking / Sing ho! The American girl." Truth Magazine, Vol. XI, No. 295, Dec. 10, 1892, cover. 8.6.6 |
 | Poster for the play, "Blue Jeans," 1899. The heroine is rather boldly about to rescue the "hero" from a buzz-saw, raising questions about the sex-role stereotypes of the 1890s. Library of Congress Prints and Photographs Division, Washington, DC 20540. POS-TH-1899.B46, no. 1. In American Heritage, "The Nineties," 1967, p. 97. 8.6.6 |
 | Ad, Heublein Martini. c. 1900. Stylish woman: "Before you do another thing, James, bring me a CLUB COCKTAIL. I'm so tired shopping, make it a MARTINI. I need a little tonic and it's so much better than a drug of any kind." A new role for women: drinking alcohol in print. Diageo PLC, 8 Henrietta Place, London, W1M 9AG, UK. In Ray Brosseau, "Looking Forward: Life in the 20th Century as predicted in the pages of American magazines from 1895 to 1905," American Heritage Press, 1970, p. 122. 8.6.6 |
 | The pinched-waist in extremis. Anna Held had a rib removed surgically in order to accomplish this eroticism. "She literally pinched herself to death." In Oliver O. Jensen, "The Revolt of American Women," 1971, p. 174. 8.6.6 |
 | The "straight front" corset. Steel and bone push the bust up, stomach in, and rear end out. "Prominent fore and aft" was the look; madame teeters forward on a diagonal. The 18-inch waist was an aspiration. The Keystone View Co. of New York, NY is defunct. Courtesy of The George Eastman House International Museum of Photography, 900 East Ave., Rochester, NY 14607. Our thanks to The Museum. In Oliver O. Jensen, "The Revolt of American Women," 1971, p. 138. 8.6.6 |
 | A Gibson Girl: diagonal posture, straight front corset. "Charming even if she could hardly breathe." c. 1900. Culver Pictures, 150 West 22nd St., Ste. 300, New York, NY 10011. In Oliver O. Jensen, "The Revolt of American Women," 1971, p. 140. 8.6.6 |
 | Women challenging a union man. 1900. Their signs: "Amalgamated order of workingmen's wives," "We demand a half hour rest each day," "We demand 6 hours sleep each day," "One hour each week to read a book or newspaper," "No mending or sewing after 11 p.m." His sign: "We want an eight hours' work day." Puck Magazine, 1900. In Ray Brosseau, "Looking Forward: Life in the 20th Century as predicted in the pages of American magazines from 1895 to 1905," American Heritage Press, 1970, p. 126. 8.6.6 |
“The History Project provides a wonderful opportunity for university historians to learn from K-12 teachers and to engage the problems of history education in a new light.”
Charles Postel
CSUS Department of History