ColumnsAppealing Subjects pg. 5Overlooked But Not Looked Over

The Year Was . . . pg. 13The Year Was 1865

Captured Moments pg. 21Mollies Rememberings

In2Genealogy pg. 33Theyre Free

Penelope Dreadful pg. 65A Dreadful Sacrifice

The Future of Memories pg.. 94The Medal of Honor

The Healing Brush pg. 100 The History Detectives & Me

Saving Face pg. 108 A Mountain of Boxes To Organize

FeaturesCostume pg. 45Identifying Fashion in Civil War Photographs

A Date With A Civil War Photograph pg. 69Revenue Stamps

All Photographs Are History pg. 81Janine Smith On The Path To Restoration Part 2

In Every IssueFrom My Keyboard pg. 4 Letter from the editor

The Exchange pg. 5Your comments

The Last Picture Show Back CoverThe graphic image on the back of a carte-de-visite or cabinet card

Download The Magazine

On The Cover

Cased AmbrotypeSnoodGlassesCivil War Era

c o n

t e n

t s

from my keyboardfOOTNOTEMAVEN

Shades extends our deep and heartfelt sympathy to a member of our family, Vickie Everhart,

author ofCapturedMoments. Vickies husband, Bennie Everhart, died April 7, 2010, in awork

relatedaccident.Imsureyou joinherShadesfamilyinsendingVickieourthoughtsandprayers.

Memorials may be made to American Cancer Society, or the Juvenile Diabetes Research

Foundation.

This month, Shades explores the Civil War. The first war where photography played such an integral part. There is so much to learn with regard to Civil War era photographs; and the Civil War had some very special clues for dating those old family photographs.

With the April issue Shades is pleased to present the return of the Appealing Subjects Column authored by Craig Manson. Craig is on the mend and we are all the better for it. George Geder takes us inside PBS History Detectives, while Sheri Fenley leads us through 1865. Caroline Pointers finds are free, Denise Olson medals, and Rebecca Fenning takes us mountain climbing. And as always, Penelope is Dreadful!

Our feature authors, Lorine McGinnis Schultz and Janine Smith have given us so much information to work with regarding those Civil War Era photographs. Brilliant articles by two brilliant women.

Join us as we explore the Civil War in the month of April.

Civil War History Month

f M

DENISE OLSON

Denise is the author of The Future of Memories Column. She also writes the blog Family Matters and experiments with her iPad

SHERI FENLEY

Sheri writes The Year Was . . . Column. She also authors the blog The Educated Genealogist.

CAROLINE POINTER

Caroline is the new In2Genealogy Columnist. She is also the author of the Family Stories blog.

PENELOPE DREADFUL

Penelope Dreadful is the alter ego of Denise Levenick. Denise authors the blog, The Family Curator and gives us something Dreadful every month.

VICKIE EVERHART

Vicki is the author of Creative Moments. She also authors the blog BeNotForgot.

GEORGE GEDER

George is the author of The Healing Brush Column. He also authors the George Geder blog.

REBECCA FENNING

Rebecca authors the Saving Face column. She also writes the blog A Sense of Face.

CRAIG MANSON

Craig authors the Appealing Subjects column. He also writes the blog Geneablogie.

contributors

T H E E X C H A N G E

LEAVE A MESSAGE WITH THE EXCHANGEFootnote Maven:

I about fell out of my office chair when I discovered Shades of the Departed.

What an outstanding publication! You can count on my readership. Best regards,

Dee Akard WelbornFuneral Cards & Genealogy

I sat down in anticipation of scanning a few blogs, then going on to do some evening chores.

Then I got to Shades ... now it's more than two hours later.

Wow! Absorbing stories, useful technical tips -- everything is here.

Greta Koehl Gretas Genealogy Blog

This issue is absolutely wonderful! Thank you so much.

I immediately read it from "cover" to "cover" and because I have a collection of "nurs-iana", I especially loved the stories and vintage photos of nurses.

Barbara Holz SullivanJason Smith said...I am very excited about the two year anniversary of Shades, because, to be honest, it allowed me find out about you through celebratory postings on twitter. I just recently posted an article on my blog about trying to identify photos of unknown persons. To find out that Shades has a great interest in old photos was so great!

I am definitely keeping my eye on Shades and your digital magazine. I wish you many more years of success!

APPEALING SUBJECTS

overlooked but not looked overIMAGES IN BLACK FROM THE CIVIL WAR

CRAIG MANSON

TheCivil Warwas the /irst Americanwar extensivelydocumentedbyphotography. Yet,picturesofblack troops arerarely seeninperspectiveor proportionto theirnumbersorvalor during the con/lictand this despite the fact that there were working blackphotographersduringtherebellion.Inthe1860s,photographerswereusedto/ixedportraiturewithlongexposuretimes.ThattechnicaldetailisthereasonthatcombatphotographyofthesortknownsinceWorldWarIislargelyabsentfromtherecordoftheCivilWar.EvenBrady'spicturesaredevoidofmuchactivity. This matter of artistic fact in small measure accounts for the paucity ofphotographsofblacktroops.THE COLORED TROOPSAbrahamLincolnandJeffersonDaviscertainlyagreedononeissuein1861:therewouldbeno black soldiers /ighting thewar.Despite entreaties fromprominentwhites andblacks,Lincolnresistedfornearlythreeyearsthenotionofaddingfreemenorslavestotheranksof the Union Army. In the meantime, however, strongly abolitionist states likeMassachusettsandKansaswereformingtheirblackunits.Forhispart,therebelpresidentDavisapprovedofthehardstandthattheConfederate

^ 6 *

Congress,cabinet, andcommanderstookontheissueofwhetherblackscouldbesoldiers.Nonetheless,someslaveholderstooksomeoftheirslavesintobattlewiththem, andtherewereafewformallyorganizedlocalunitsofblacksoldiersinLouisianaespecially.In1863,Lincoln/inallyauthorizedtherecruitmentandenlistmentofblacksoldiersandtheBureau of Colored Troops was established. Nearly 200,000 free blacks and freed slavesshowedthemselvestobevaliant,capablesoldiers.

This cartoon which ran in an October 1861 magazine may have alternative meanings. "Contraband" was a term used to refer to escaped slaves who began flooding into Federal Army camps as the war progressed. There was fierce debate about what should be done with them. On one level, then, this cartoon is plainly racist in its suggested disposition of the self-liberated people. On the other hand some have argued that the cartoon satirizes Lincoln's hand-wringing over the issue of black soldiers. What do you think?

^ 7 *

SOME REPRESENTATIVE PHOTOGRAPHSBLACK SOLDIERS IN THE CIVIL WAR

Thestereographwas apopularform inthe1860s. Theoneabovedepictsthecampofthe10thU.S. ColoredInfantry atFort Brady, Virginia in about 1864. Amazinglyenough, thisregimentwasorganized inVirginia.Fort Brady is near the Dutch Gapcanal in Chester/ield County,V i r g i n i a , n o t f a r f r om t h eindependentcityofPetersburg.

Left is ararecombat"action"photoof two members of the 10th USCIalong the James River near FortBrady.Canyoutellifthepicturewastaken"inaction"orifitwasposed?^ 8 *

SABLE SAILORS

More rarely seen than photographs of black soldiers

are those of black sailors. The Navy had no ban on

the enlistment of blacks at any time during the civil

war.

The carte de viste left depicts an African-American

sailor whose name may be "Charles Battles" or

"Charles Batties". I could not find either version in

the National Park Service's Civil War Soldiers and

Sailors System.

In March 1862, naval history was made when two

"ironclad" ships went head-to-head in battle. The

USS Monitor fought the CSS Virginia at Hampton

Roads, Virginia, after the rebel ship had destroyed

USS Cumberland and USS Congress. Neither ship

any significant harm to the other. The sterograph

below depicts several black sailors on the deck of

USS Monitor.

^ 9 *

PORTRAITURE

Upper Left: MajorMartinR.DelanyUpper Right: SergeantMajorChristianAbrahamFleetwoodCenter: 8thNewYorkStateMilitiaBand

"Once let the black man get upon his person the brass letter, U.S., let him get an eagle on his button, and a

musket on his shoulder and bullets in his pocket, there is no power on earth that can deny that he has earned the

right to citizenship."Frederick Douglass

PORTRAITUREThereissomeportraitureofblacksoldiersfromthewar. Itgenerallydepictsproud,valiantmenwithcreditablemilitaryexperience.Forexample,oppositepagetopright isaportraitofSergeantMajorChristianAbrahamFleetwood, ofthe4thU.S. ColoredInfantry,whowasawarded the Medal of Honor for his actions in the Battle of Chaf/in's Farm, outsideRichmond,Virginia.FleetwoodwasanentrepreneurwithanadvancededucationandwasmadeSergeantMajoroftheregimentsoonafterenlisting.Althoughit'shardtotellinthephotograph,Fleetwoodwasjust/ivefeet,fourinchestall.Another important portrait is that ofMajor Martin R. Delany. He was the /irst AfricanAmericantohold/ieldgraderankintheArmy.Hehadbeenajournalist,novelist,educator,and medical doctor. He was a leading emigrationist (holding the view that AfricanAmericansshouldleavetheUnitedStatesforLiberia).DelanyearnedhisArmycommissionbyimpressingPresidentLincolninaninterviewaboutorganizingblackunits.Some of the seldom seen photographs depicting black soldiers give a new historicalperspectiveonthewar. Forexample,itiswidelybelievedtherewerenoraciallyintegratedunits(savefor thefact thattheColoredTroopswerecommandedbywhiteof/icers). Thispicturede/iesthatconventionalwisdom.Center left, is the band of the 8th New York State Militia, photographed at Arlington,Virginiain1861.Clearly,oneormoreofthemembersareblack.

African American daguerreotypist Augustus Washington (ca. 1820/21-1875)

Augustus Washington, an artist of fine taste and perception, is numbered among the most successful Daguerreotypists in

Hartford, Connecticut. His establishment is said to be visited daily by large numbers of the citizens of all classes.

Martin Delany, 1852

^ 11 *

These /inal two photographsgive tribute to thevalorous former captiveswho fought fortheirownfreedom.Thesubjectisthesamemaninbothpictures.HubbardPryorescapedfromslavery inTennesseeandmadehiswaytoUnionlines. This"contraband"enlistedinthe44thRegiment,U.S.ColoredInfantryin1864. He'sdepictedondutyintheotherphotograph.Photo Credits: All photographs courtesy American Memory Collection, Library of Congress (http://memory.loc.gov/ammem/index.html), photographers unknown, except Hubbard Pryor photographs.

Hubbard Pryor photographs courtesy National Archives and Records Administration, Records of the Office of the Adjutant General, Records Group 94

^ 12 *

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THE YEAR WAS . . .

the year was 1865"WHEN JOHNNY COMES MARCHING HOME AGAIN HURRAH! HURRAH!"

BY SHERI FENLEY

Theendof the CivilWarwas of/icially over whenGeneral Robert E. Lee surrendered toGeneralUlyssesS.GrantatAppomattoxCourtHouseonApril9,1865.

"WhenJohnnyComesMarchingHomeAgain,Hurrah,Hurrah!"UnionsoldiersattheendoftheCivilWarmarchdownPennsylvaniaAvenuein1865.CREDIT: Brady, Mathew, photographer. Washington, D.C. Infantry unit with /ixed bayonets followed byambulances passing on Pennsylvania Avenue near the Treasury, 1865. Prints and Photographs Division,LibraryofCongress.ReproductionNumberLCDIGcwpb02829.^ 14 *

TheBureauofRefugees,Freedmen,andAbandonedLands,alsoknownastheFreedmansBureau,was establishedintheWarDepartment byanact ofCongressonMarch3,1865.TheBureau'smainrolewastoprovidereliefandhelp freedmenbecomeselfsuf/icient, italsosolemnizedmarriagesthatfreedmenhadenteredintoduringslavery.C

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^ 15 *

On the fashion scene crinolines andhoops, thebigger the better, were allthe rage. 1865 is also the year theStetson "tengallon"hat is created byJohn Batterson Stetson. Nicknamed"Boss of the Plains", the hat is amodi/ied Mexican sombrero with afourinchcrown, afourinchbrimandaleatherstraphatband.

Godey'spresentedthefashionFebruary1865C

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^ 16 *

TheassassinationofAbrahamLincoln, oneof the lastmajorevents oftheCivilWar, tookplaceonGoodFriday,April14,1865,whenPresidentAbrahamLincolnwas shotbyactorandConfederate sympathizer JohnWilkes Boothwhile attending a performance of OurAmericanCousinatFord'sTheater.A

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John Wilkes Booth and the Reward Poster issued by the War Department.

The/irstrecordedtrainrobberyintheUnitedStateshappensMay5, 1865inNorthBend,Ohio, whenarmedrobbers toreuptracks to derail an Ohio & Mississippi trainthat haddepartedfromCincinnati.Whilepartofthegangofthievestookmoneyandjewelry fromalmost100passengers, theotherblewopenandemptiedthesafes locatedonrail carsoftheAdamsExpressCompany.NewspaperClippingofferingrewardisfromTheCincinattiDailyInquirerMay8,1865page2.

Illustration from the Civil War Harpers Weekly 1864 - Warning of Train Robberies

^ 18 *

WrittentoentertainaveryrealAliceLiddell,LewisCarrollpublishes"Alice'sAdventuresinWonderland"onJuly4,1865.

Illustration by Arthur Rackham for the Original Alice - Reproductions for sale on ebay

Courtesywiki

med

iacomm

onsI only took the regular course.

What was that? inquired Alice.

Reeling and Writhing, of course, to begin with, the Mock Turtle replied; and then the different branches of Arithmetic Ambition, Distraction, Uglification, and Derision.

^ 19 *

Withareportedonethirdofthecurrencyincirculationbeingcounterfeit,theSecretServicewascommissionedonJuly5,1865inWashington,D.C.tosuppresscounterfeitcurrency.Within a year, the men hired had arrestedover200 counterfeiters and removeda greatamount of fake currency from circulation aswe l l as the too ls o f the t rade thecounterfeitersusedtomaketheirfakemoney.(DavidJohnson,IllegalTender:CounterfeitingandtheSecretServiceinNineteenthCenturyAmerica,WashingtonD.C.:SmithsonianInstitutionPress,1995,pg.76)

With this much fake currency, the U.S. financial

system was in danger of collapse.

Photo courtesy of www.secretservice.gov

^ 20 *

Rounding out the year on December 6, 1865, slavery is abolished forever when theThirteenthAmendmenttotheUnitedStatesConstitutionisrati/ied.Ph

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^ 21 *

CAPTURED MOMENTS

mollies rememberingsMOLLIES STORIES AS TOLD BY MISS RUBY

BY VICKIE EVERHART

In the autumn of 1852, Mollie West was born in Oktibbeha County, Mississippi. Thissoutherncountyiswherethisyounggirl andherkith'nkinstruggledtosurvivetheyearsofthewarbetweenthestates.By1869,Molliewasanorphan,andonherwayviawagontraintoanewbeginninginTexas.^ 22 *

MISS RUBY REMEMBERS MOLLIE'S STORIESOne afternoon in the summer of 1932, Ruby (Nettles) Vance (19102003) visited herGrandmaMollie forthe purposeoftakingnotesonsomeoftheCivilWarstories shehadalwaysheardherlittlegrandmatell.Mollie'sstory,astoldbyMissRuby,madeits/irstpublicnewspaperappearanceinAprilof1979,anditispartsofherstorythatarerelatedbelow.

MollieholdingMissRuby'sdaughterca.1938.

Noticetherocker?

Itdoesappeartobethesameoneintheca.1917photoofMollieinthecollage.

MOLLIE REMEMBERS MISSISSIPPIIwasborninMississippiin1852, inaoneroomloghomewithonedoor,onewindow,andamudandstickchimney.Wewerequitepoor,Iguess,butIneverrememberbeinghungry.JONQUILS, DAFFODILS & SNOWDROPSWhenthewarbrokeout,wewentdowntheroadawaysto staywithAuntMary.Becausethemen folk were away from their homes /ighting or training, thewomen and childrenoftengathered in the homes ofrelatives who had houses largeenoughto accommodatethem.AuntMary livedinahomeofsixrooms, a longwidehall, two largeporches,andaportico.Thehousewassurroundedbyapicketfencethatenclosedalargeyard.Thewalkfromthefront yardgateto thehousewas linedwithjonquils, daffodils andsnowdrops.Thehouseitselfwaswhite,setonbrickpillars.Lifewouldhavebeenfunbutforthevastamountofworktobedone. Itleft littletimeforplay.EventhoughIwasonlynineyearsoldwhenthewarbrokeout, Ispunmanyyardsofclothforourownclothingandforthesoldiers.1864 BATTLE OF OKOLONA[LINK]Onedaywecouldhearthecannonboomingasabattlewasfoughtoverabridgemaybetwelvemilesfromourhome.IrememberthatCol.ForresthadcomebythedaybeforeandaskedAutMaryforahorsetoride.Shehadtoldhim to takehispick,onlyleaveheroldTomto ride, sincehewasrealgentle.ButheinsistedonusingTom,andinangershetoldhim,"Ihopehedoesyounogood,Sir!"Latethenextday,afterthebattleatthebridge,oldTomcamehomeriderlesswithbloodalloverthesaddleCol.Forresthadbeenkilledonhim.AuntMaryweptinremorseand

^ 24 *

^ 25 *

neveragainrodeoldTom. Col. ForrestandGen. N. B. Forrestwerebrothers, andwesawthemoften.LIFE GOES ONWell, youwantedsome ofmymemories ofthe CivilWar. I hopeyouwill remember thatthesewere from a child's pointof view. I'm surethe suffering andhardships weremuchworse for our parents than anything a child could understand. I don't remember anypartyingorcelebrationswhen thewarwas /inallyoverafter four longyears. Thatwas in1865andIwasthirteenthatyear.MOLLIE'S TREK TO TEXASThere were twentyone families of relatives and friends who in 1869 /inalizedplans tocometoTexaswhereitwashopeditwouldbeeasiertostartover.SowemadethelongtrekfromnorthernMississippiandthatinitselfisalongtale.ThisafternoonisaboutspentandIhavechorestodo....Miss Ruby would later express regret that she never did pick up that particularconversationwithher littlegrandma.Thefollowing isbasedonMissRuby'smemories,aswellasfurtherresearchdonebyMollie'sdescendants.MOLLIE'S LIFE IN TEXASShortly after arriving in Texas, 18yearold Mollie met andmarried 39yearold JosephHelidorahNettles(18321890).AmemberofHood'sTexasBrigadeduringtheyearsofthewarbetweenthestates,JosephneverfullyrecoveredfromthenumerouswoundsreceivedatsuchplacesasGettysburgandtheWilderness. Hediedin1890, leavingMolliewithsixsurvivingchildrentocarefor, includingoneyearoldJoseph,whogrewuptobethefatherofMissRuby.Mollie began receiving a Confederate pension in March of 1916. In the beginning shereceived$53.50annually.Bythetimeofherdeathinthespringof1939,theamounthad

^ 26 *

beenincreasedto$25permonth.MolliewaslaidtorestbesideJoseph,amongsttheTexaswild/lowersinthelittlecountrycemeteryneartheirhome.

^ 27 *

MOLLIE'S TEA CAKESWhenMolliediedin1939, itwasexactly fortyyears to thedayfollowing thedeathofherhusband. In later years, her granddaughters would recall helping their grandma makecookies that contained nutmeg. FollowingMissRuby's deathin2003, her son found thefollowing recipe in his mother's recipe /iles. It was identi/ied as "Grandma Nettles'Teacakes."Mix together :: 2 cups sugar ~ 2 eggs~ 2heaping teaspoons baking powder~ 1 levelteaspoonsoda~1teaspoonnutmeg~1cupshortening~1cupbuttermilk.Setaside.Siftalotof/lourintoalargebowl.Makeaholeinthecenter,pourinmixture,andworkinto/lourwithyourhandtoaconsistencytorollouton/louredsurface.Cutandbake.

^ 28 *

TUTORIALS

BACKGROUND IMAGEThis is theoriginal version [ LINK] ofthe alteredimageused for thebackgroundofthemaincollage.

UsingtheRETOUCHtoolinPicasa,thegraf/itiandunwantedspotswereremoved.

^ 29 *

Using the collage feature, a MULTIPLE EXPOSURE collage was createdusing this image[LINK]andtheaboveretouchedimage.

Thisistheresultingimagethatwasusedforthebackgroundofthecollage.

Oneof the limits of Picasa is the inability to useGIF orPNG imageswith a transparentbackground,e.g.,acutoutofthefollowingturquoisebird.Onewaytoachievethe"look"ofapieceofscrapplacedinadesirablelocationisdescribedbelow.UsingagraphicsprogramsuchasIrfanView[LINK], createanexactmirror imageofthisfreeheaderimage[LINK]byvertically/lippingtheoriginalimage.UsetheGRIDcollagefeatureinPicasatocreatethisimagefromtheprevioustwomirroredimages.Thisparticularcollagewasdoneasan8.5x11image.

^ 31 *

UsethePICTUREPILEoptioninPicasa'scollagesectiontoarrangeyourchosengraphicelementsinapleasingmanner.

^ 32 *

TheTEXT feature inPicasawasusedto addtheshapeoftheStateofTexas, andMollie'sname, and theadditional /lourishes (aswell as thediscreet/subtlebirthdaymessagetofM!) with the following free fonts Blackadder, Border Corners 2, DingMaps, FloridVictorianOrnament,andSeparates.SOURCESTheCOOKIERECIPEwaspassedonby Miss Ruby's son, Robert LeeVance (19412009),who found therecipeinMiss Ruby'srecipebox following hismother's death.Miss Rubywasa/irstcousintothepaternalgrandmaoftheauthor.Mollieistheauthor's2ndgreatgrandma.TheFAMILYPHOTOScamefromthephotocollectionsofMollie'sgranddaughters, ImaLois(Muston)Pounders(19061999)andGladysCoreen(Muston)Taylor(19132007).TheFREEGRAPHICSusedherewerefoundat[LINK]Deviantart,[LINK]GraphicsFairyand[LINK]Flickr.The FREE FONTS used are BlackadderITC, Border Corners 2, Dilana Experimentype,DingMaps,FloridVictorianOrnament,andSeparates.

^ 33 *

IN2GENEALOGY

theyre free!

TAKING A LOOK AT CIVIL WAR RESOURCES FOR FREE

BY CAROLINE POINTER

The First and Fifth Regiments were formed in column of battalions, ordered to draw sabers and, while the band played 'Yankee Doodle Dandy,' went forward at

a full gallop, scattering the foe in their front, and afterward secured a place of safety for the whole command.

-An excerpt of the regimental history

1st Cavalry Regiment Michigan

Whilemysecondgreatgrandfather,DanielRook Vaughnwas not part of this cavalryregiment, he was 1st Infantry RegimentMichigan,CompanyG.Heenlisted10Oct1861atthetenderageof15asamusicianhaving added2years to his age inorderto do so. Hewas discharged 10 Jun1865,andthenhereenlistedintheU.S.ArmyandwasassignedtoFortBrown,locatedontheTexasMexico border now known asBrownsville, Texas. One could say thatDanielbecameamaninthemidstofawar.Inparticular, in themidstof theAmericanCivilWar.I cannot imagine the atrocities that Danielsaw as he led his regiment into battle, attimes playing, I would guess, YankeeDoodle Dandy. While it's hard to imaginenow abandplayingas soldiersmarch intobattle, itwasde/initely anintegral elementofbattlestrategy at the time. Furthermore,

it served to boost troop morale, andoftentimes, the musicians doubled asstretchersandcarriedthewoundedoffthe battle/ields. Daniel certainly wouldhave grown up very fast in thisenvironment.All of this information I found on myown, evenhisname. So,whileit'snicetoinherit both stories and artifacts aboutour ancestors, not all of us are luckyenoughtoreceivethesetreasureditems,but it's not impossible to know somedetails of ancestors, particularly thosewho fought in the Civil War. There aremany resources to draw upon forinformation. In fact, there are so manythat it can become overwhelming attimes. Add to that the constraints of abudget, andyou've justmade your taskharder.

^ 35 *

ThereisalogicalprocesstogothroughwhenlookingforancestorswhoparticipatedintheCivil War. Below are some suggested search tips, and below them are some generalresources for you to take an inventory of with some examples from my research. Theresourcesaredifferentforeverystateaswellaseveryresearcher,andyoumusttakealookatwhat'savailabletoyou.Theseresourcesincludeonline,of/line,free,subscriptionbased,andacombinationthereof. Also,rememberthatsomeresourceswillyieldinformationforoneormoreofthesetips.Thisisnot anexhaustivelist, but ratheraguidetohelpyougetstarted.

SUGGESTED RESEARCH TIPS:

Identifyancestorsinyourfamilytreethat wouldhavebeen of age(17years old) to be a soldier inthe CivilWar, whichbegan on 12 Apr 1861. General Lee surrendered on 9 Apr 1865, but due to slowcommunication,thelastmajor/ightingoccurred23Jun1865.Youwillwanttokeepinmindthose who, like my second greatgrandfather, may have lied about their age in order toserve.Additionally, therewereover700womenwho foughtonthebattle/ieldsusingmalealiases. Taking a look at where your ancestor was living in the 1860 census may help.Additionally,mostofthe1890PopulationSchedule(census)wasdestroyed, but the1890SurvivingSoldiers, Sailors, andMarines, and,Etc. Census Scheduleisavailable. Itwill listlocation current residence, name, rank, company, regiment or vessel, enlistment date,dischargedate, lengthofservice,postof/iceaddress,anddisabilityincurred. Ifanancestorhad abiographical sketch done, thismay yieldhis CivilWar service informationas well.Therearemoreplacestolookforthisinformationwhichwillbelistedbelowinresources.

CIVIL WAR RESOURCE GUIDE

Library of Congress, American Memory

^ 36 *

Identify thestatewheretheyenlisted. Again, the1890Veterans Schedulewouldidentifythisforyou.However,iftheywerenotlivingatthetimeofthecensusin1890,orsimplynotlisted, thenyou'llneedtotakealookatotherresources,whicharelistedbelow.However,knowingthestateiskeyforyourresearch.Identifytheregimentandcompany.Identifythedatesofyourancestor'sservice.Studytheregimentalhistories, keepinginmindyourancestor'senlistmentanddischargedates. A word of caution: Even though your ancestor may have been in a particularregiment and/orcompanyandservingatthe timeofaparticularbattle thattheregimentand/or company participated in, does notmean that your ancestor participated in it aswell.Yourancestormayhavebeensick orinjured. Thusnotabletoparticpate. Thatbeingsaid,don'tletthisstopyoufromlooking.Justbeaware.LocatephotospertainingtotheCivilWar,especiallythoseonastateorregimentlevelandlookforindividualphotosofyoursoldier.LocateCivilWarvideosonYouTubebysearchingforAmericanCivilWarHistory[LINK].National Archives is thecrmedela crme for your ancestor's CivilWar records, but itcostsmoney,whichiswhy Ileft itfor last. Yourancestor'spension/ilecancontainquiteabit of genealogical information, and may contain the actual battles your ancestor didparticipate in. As your budget permits, this is a must for your research, inmy opinion.However, Idon'tknowhowrealistic itis ifyouhavemanyofthemtoobtain. TheNationalArchiveshas anexcellent stepbystepguide [LINK] to helpyouresearchyour CivilWarancestor.

Library of Congress, American Memory

RESOURCES & HOW TO USE THEM

Note:Mostofthefollowingresourcesarefree,orthereisanominalfeeforcopiesand/orpostage.

State Archives canhave plentiful Civil War collections that include lists of regiments,regimental histories, photographs, letters, etc. As Forest Gump said, ...it's like a boxchocolates.Youneverknowwhatyou'regonnaget.Allstatearchivesaredifferentinwhattheyhave.Therefore,you'llneedtoidentifywhatthestatearchivehasinthestatethatyourancestorserved. TakethestateofMichigan,whereDanielRookVaughnhailsfrom. Here'swhatIfoundthatpertainedtoMichiganandtheCivilWar:SeekingMichigan.org[LINK]DidyouseethoseCivilWarcollections?Nowthat'swhatI'mtalkingabout.SomestatearchivesevenhaveonlinedatabasesoftheCivilWarsoldiersthatserved.Forexample, Iwasableto/indoneofmy2ndgreatgrandfather's, JoelHarrisonMartin,wholivedalmosthiswholelifein JohnsonCounty, Illinois, intheIllinoisCivilWarMusterandDescriptiveRollsDatabase[LINK]. Itliststhesoldier'sname, rank,enlistmentdate,dischargedate,nameofprisonifimprisoned, injuries sustainedduring thewar, andwhether or not the CivilWar soldierdiedwhileservingandwhere.So, takealookatyourtargetstate's(meaningthestateyourancestor served in) archives because you never knowwhat you're gonna get.Cost forlooking?Free.Costforpaperandinktoprintoutacopy?Minimal.LocalArchivesareexcellentsources forinformationontheregimentsthatservedinthatparticular area. Do you know where your local archives are? Your local librarian does.Inquiriesarefree.Local genealogical and historical societies arealso excellent sources for informationonCivilWarsoldiersthatlivedinthatareaatthetime.Thismayincluderelevantbiographicalsketches, books, manuscripts, etc. Another example from my Johnson County, Illinoisancestors illustrates this. TheJohnson County Illinois Genealogical andHistorical Society[ LINK]has severalpublications concerningthe CivilWar soldiers from JohnsonCounty.Undertheirpublications, theylistthebook, CivilWarSoldiersofJohnsonCounty,Illinois,written by Rebel L. Kreklow, which is a spiralbound book for $23.95 ($26.55 for nonmembers).ProbablynotveryeconomicalifIonlyhaveoneCivilWarancestorfromthis

^ 38 *

area.However,sinceIhavemanyancestralrootsthere,itmightbehoovemetoacquirethisbook. IfIonlyhadone, aquickphone callmightyieldaneconomical lookupandacopyplacedinthemailtome.Inadditon,theirlocallibrarymighthaveitonitsshelvesavailableforinterlibraryloan.That'sfree.TheLibrary ofCongresshasmanyCivilWarphotographs [LINK] andmaps [ LINK] tolook at. They also have regimental histories [ LINK ] for someof the regiments that arelocatedonbookswhereonlysomeofthemaredigitized.Butworthalook,because,hey,it'sfree.

Library of Congress

Photographic print on stereo card : stereograph, albumen.

Summary: Photo shows a portable darkroom in the wagon, with photographer Alexander Gardner seated in middle of image, holding his camera lens. Man at left is holding a plant.

Reproduction Number: LC-DIG-stereo-1s00045 (digital file from original photo, front)

^ 39 *

Ifyouare luckytohaveagenealogy librarynearyou, thenitwouldbebene/icial to seewhatcollectionstheyhaveforCivilWarsoldiers,regiments,etc.foryourtargetstate.Somecould include census transcriptions (like the 1860 and/or 1870 census), a list of thesoldiersonthe1890VeteransandWidowscensusforaparticularcounty,etc.Don'tforgettheirmicro/ilmcollectionspertainingtotheCivilWar.Don'thaveonenearyou?Checkyourtargetstateandcountyandseewhatisavailable,andwhatcostsareinvolvedforlookups,copies,andpostage.If your local library has a genealogy department, you are going to want to identify itscollectionsaswellfor theCivilWar,especiallyonastateand/or county level. Ifyoudon'tlive in the county or state of your ancestor, youmight try a library with a genealogydepartment nearwhereyour ancestor lived. It doesn't hurt to call and /ind out what, ifanything,theyhaveavailable.Cost?Dependsonyourlongdistanceplan.Ofcourse,anemailisfree,ifyoualreadyhaveemailservice.Don'thaveagenealogylibraryoralibrarywithagenealogydepartmentnearyou,orthereisn't one near where your ancestor lived? Don't despair. Libraries, including universitylibraries,haverelevantresourcesforgenealogicalresearch. It'sjustnotgroupedseparately.Look atthe CivilWarcollectioninpersonif it's local, or lookonline at alibrary closetowhere yourancestor lived. Ifyou/indabook thatmayyieldsomepertinent information,andyour local library does nothave it, thensee ifit's availablethroughthe interlibraryloan program. This can be done with your librarian. [You know, the one that's quicklybecomingyourbestfriend?]Andit'sallfree.Wanttocheckallthelibrariesatonce?Online?Inyourpajamas?TryWorldcat.org[LINK]Thiswill assistin/indingthebookthatyou'relookingfor,andhowcloseitistoyou.Whatdoyouknow?Thisisfreetoo.USGenWeb.org [ LINK ] has various collections organizedby state, then county. What'savailableoneachofthemishighly individual. Ioncefoundabiographical sketchofDanielHaley,oneofmyhusband's2ndgreatgrandfathers,whohadbeenintheCivilWar.Itlisted

^ 40 *

thestatehefoughtfor,hisrank,majorbattlesheparticpated,etc.Italsolistedhisbrothers,how theytoo fought in theCivilWar,whichonesdiedintheCivilWar,etc. Itwas a CivilWarbonus,ifyouwill.Basically,you'regoingtoneedtotakealook foryourself.Hey, justremember,it'sfree.Google Books [ LINK ], which includes some books in their entirety, can also be awonderfulresourcein/indingbooks.YouknowthebiographicalsketchImentionedabovetheCivilWarbonus?ThewholebookthatincludesthebiographicalsketchesaswellascountyandtownshipsketchesandCivilWarsoldierlistsisavailableinitsentirety.Thebestthingaboutit?Yup.Free.Ihopebynowyourealizethatyou'regoingtoneedtoobtaina librarycard[and, hey,it'sfree].Therearejustnotwowaysabout it. Getone.Ortwo.Orthree.Iffornootherreasonthanthisnextdatabase,HeritageQuest[LINK].It'savailableonlythroughyourlibrary,butonceyougetyourfree librarycard,youcansearchitfromthecomfortofyourownhome.Inyourpajamas. Images formostof thecensus years are available, including the1860and1870census.ExactlywhatyouneedwhensearchingforyourCivilWarancestor'slocation.Amongst its noncensus databases that are available, you can search its digital bookcollectionsby personand/or location. Findabook that lookspromising? Youcanreaditonline.Andyouknowwhat?It'sfree.Providedyougogetafreelibrarycard,thatis.CivilWarSoldiersandSailorsSystem [LINK] is ahandydatabaserecommendedby theNationalArchivesforregimentalhistories. Itriedit. Iputmyancestors'informationwho IknewwereCivilWarsoldiersinto theappropriateboxes,anditspitouttheirregimentalinformationandincludedalinktotheregimentalhistory.Therearesomerelateddatabasesalso available, andworth a look. This particular site's history ismorebrief thanwhat'savailableonAncestry.com,butguesswhat?It'sFree.TheFamilyHistory Library [ LINK] hasawonderful selection ofmicro/ilmedresourcesthatcanhelpyou/indoutmoreaboutyourCivilWarancestorsandwhattheyexperienced.Ifyouperformaplacesearch,thenyoujustmight/indwhatyou'relookingfor.Forexample,my2ndgreatgrandfather,DanielRookVaughn,enlistedandlivedinWashtenawCounty,

^ 41 *

Michigan.SoIperformedaplacesearchforWashtenawpartofMichigan.Indeed,ithadacategory forMilitary/CivilWarwithmicro/ilm to rent.To lookupthis informationis free.However,torentthe/ilmatyourlocalFamilyHistoryLibrarycostsabout$5//ilm.Aboutthecostofafancy,schmancycoffee.Soifyouhaveafew/ilmstorent,skipthefancy,schmancycoffeefor awhile. Lookat it thisway: theblack coffee that you'll besacri/iciallydrinkinginsteadofthefancy,schmancycoffeewill tasteawholelotbetterthanthecoffeeyourCivilWarancestordrank incamp. Buthowwill youknowifyoudon'tskipthefancy, schmancycoffee,rentthemicro/ilmofthebookthatcontainstheletterwhereyourCivilWarancestorcomplainsabouthowbadthecoffeeis?Costofjusti/ication?Free.Ancestry.com [ LINK ] and Footnote.com [ LINK ] have quite a few Civil War databasecollectionsavailable.InAncestry.com,theAmericanCivilWarSoldiersandU.S.CivilWarSoldiersarethemainonesthatIuseonceIknowthestate[andsometimeswhenIdon't].Onceyou'vepulleduptheinformationontheancestoryouarelookingfor,thereshouldbealinkontheregimentinformationthatwilltakeyoutotheregimentalhistory.ThishistoryseemstobealittlemoredetailedthantheregimentalhistoryfoundonCivilWarSoldiersandSailorsSystemwebsite.Basically,youneedtoexploretheCivilWarcollectionsoneachof thewebsites.MyonesuggestiononusingAncestry.com, is that insteadofenteringthenameofyourancestoronthemainsearchpage, locatethetitleofthecollectionyou'dliketo search [e.g., 1890 Veterans and Widows Census] and then enter your ancestor'sinformationinthatsearchpage.Thiswayyouareonlylookinginthiscollection.Otherwise,youmaynever/indanentryforhim.Forexample,whenIlookedforDanielRookVaughnonthe general search page, I couldn't /ind him easily, but when I located and entered hisinformationon thesearchpage forthe1890VeteransandWidow census, hecameuponthe/irstpageasthe/irstentry.Thesetwodatabasesarenotfreeifyou'dliketoperusetheminyourpajamassippingyourcoffeeinthecomfortofyourownhome.However,ifyoucanputdownyourcoffeeforjustamoment,getdressed,gotothelibrary[don'tforgetyourfreelibrarycard], andprovidedyourlibrary subscribes to these databases, youcanusethemthere.Andthatisfree.TheNationalArchives,asmentionedbefore,hasacompleteoutlinetofollowinorderto

^ 42 *

obtaininformationonyourCivilWarancestorsandit'slocatedhere[LINK].Exploretheirsiteto/indwhatyouneed.Thetypesofmilitaryrecordsavailableandwhatmaybefoundinthemarelistedthere.Nottomentionthecostsassociatedwithobtainingtherecords.Theyalso have plenty ofCivil War information available on theirwebsite, including CivilWarphotographs.Sogotakealook.LookingattheNationalArchiveswebsiteisalwaysfree.Last,butnotleast,istheGoogleSearch[LINK].Iknoweveryoneknowshowtousethis,butitneverhurtstogooveritagain.UsingsearchphraseslikeCivilWarsoldiersMichiganorCivilWarMichiganregimentalhistoryjustmightyieldyousomethinguseful.Youneverknow.Theinternetisconstantlychanging,beingaddedto,andsoon,andit'sworthatry.And,ohyeah,it'sfree.BONUS EXAMPLE [AND IT'S FREE]:

Remember how I mentioned Daniel Haley and how I found hisbiographical sketch that listed Civil War information about hisbrothers?HereisatintypephotoofEdwardHaleywhowasshotin the Battle of theWilderness, captured, and taken to LibbyPrison where he died. When I was discussing it with therelativewho owns it, hementioned that he was told thatEdwarddidnot/ightwithhisbrothers ontheUnion sidebut on the Confederate side, whichcontradictedwhat Ihad found. So I went back home to double check myinformation. Iwasright.HefoughtforVermontontheUnionside.However, to beextrasureIdecidedtolookupwhat theuniforms lookedlike for thetwosides. Turns out that EdwardHaley iswearing anUnionuniform in thisphoto.Here, at this sitethat's freet o l o o k a t , I f o u n d p h o t o s o f r e p l i c a u n i f o rm s :QuartermasterShop.com [ LINK]. I didverify the historical accuracy of theseuniformsonvariousfreewebsitesbyGoogling forfree. However, Iwasunableto /indonethatisasallinclusiveasthisone.

LINK TO WATCH VIDEO

ONE MORE THING ABOUT BEING FREE . . .Muchtomychagrin, I'veyetto /indanyphotosofDanielRookVaughn, freeorotherwise.Mynextstepwiththemy2ndgreatgrandfatheristoorderhispension/ilefromtheNationalArchives,whichisnotgoingtobefree.Amongmanythings,Ihopeto/indwhatinstrumentheplayedbugle,/ife,ordrum,andIhopetogetaglimpseofhisexperiencesthathelpedtoshapehim into themanhebecame. Experiences thatwere not freeandexperiences thathelpedto free. Inthemeantimefrom thecomfortofmyownhome, wearingmypajamas,andsipping onmy coffee, I'll bewatching the followingvideo from YouTube.com. That'sright.Forfree.

^ 44 *

Sources and Credits:

Regimental History of 1st

Cavalry Regimant Michigan. Historical Data Systems, comp. American Civil War Regiments [database online]. Provo, UT: Ancestry.com (http://www.ancestry.com/ : accessed 15 Jan 2008), Citing Data compiled by Historical Data Systems of Kingston, MA.

Davis, David Brion and Steven Mintz. The Boisterous Sea of Liberty. New York: Oxford University Press, 1998.

Albright, Harry. Gettysburg: Crisis of Command. New York: Hippocrene Books, Inc., 2006.

Ancestry.com. U.S. Army, Register of Enlistments, 1798-1914 [database on-line]. Provo, UT, USA: Ancestry.com (http://www.ancestry.com/ : accessed 15 Jan 2008). Original data: Register of Enlistments in the U.S. Army, 1798-1914; (National Archives Microfilm Publication M233, 81 rolls); Records of the Adjutant Generals Office, 1780s-1917, Record Group 94; National Archives, Washington, D.C.

Historical Data Systems, comp., American Civil War Soldiers [database online]. Provo, UT: Ancestry.com (http://ancestry.com/ : accessed 15 Jan 2008). Original data compiled from state rosters, pension records, and rengimental histories by Historical Data Systems of Kingston, MA.

Groom, Winston. Forrest Gump. New York: Doubleday, 1986.

Weaver, Gen. James B., Ed., Past and Present of Jasper County, Iowa. Indiana: B.F. Bowen & Co., 1912, p.1269; Googlebooks.com (http:/googlebooks.com : accessed 7 Oct 2007).

Haley, Edward. Photograph. ca. 1862. Digital image. Privately held by R.L. Pointer, Texas. 2005.

^ 45 *

CostumeCivil WarLorine McGinnis Schultz helps date Civil War Photographs using fashion.

TheCivilWarperiod, from1861to 1865, wasatimeofgreatchange. Onechangewas inphotography. Cartes de Visite, a cheaper type of photographic process, replaceddaguerreotypes,andanageofpicturetakingforthemassesbegan. Fashionsalso changedbutmoresoforwomenthanmen.Aproperladyconformedinallwaysinthe1860s,andthisincludedfashion.Noonewantedtobeostracizedfrompolitesocietybecauseshewasnotalady!Thuswomenofallagesandwalks of life attemptedto follow the latest fashionof theday as best theycould. Poorerwomen alteredolder gowns in attempts to re/lect the newest fashionwhile those withmoneyhadnewgownscreatedwheneveranewsleeveorlookbecamepopular.There were regional as well as occupational differences and exceptions to the rules ofpropriety. Farm women and frontier women neededmore functional clothing than citywomenwho could indulgethemselveswith the latest fashions. In later years ofthe CivilWar,southernwomenhadtousewhatevermaterialstheyhadonhandastheywerecutofffromtheirusual suppliesofribbon, trimming, laceandother fashionitems.Olderwomenoftenworeclothesandhairstylesthatwereinstyleduringtheiryouth.DuringtheCivilWar,asmallwaistwasameasureofbeauty. Corsetswereinusebuttheywerenotoverlytightenedtocreateatinywaist,insteadgownsanddresseswerefashionedto create the illusion of a small waist. Shoulder seams were dropped creating theappearanceofwideslopingshoulders.Thismadeawomanswaistseemsmallincontrast.

^ 47 *

Sleevesbecamefullerattheelbow,andskirtsbecamemuchwiderincircumference,whichalsomadethewaistlooksmallerbycontrast.A universalhairstyleforwomenwas popularduring theCivilWar. Theobjectivewas theappearanceofa full roundface, sohairwaspartedinthemiddle, thenpulledverylowonthecrownofthehead, andwiderto thesides.A bunorrollwas createdat thebackandsecuredwithpins.Youngwomensometimesdroppedthebunintoarollatthenapeoftheneck.

Sausagecurlsandringletswerenormallyonlycreatedforeveningwearbutsomewomenlikedto createthisfancierhairstyleforphotographsasthewomanontherightdid.Hairnets, often called snoods, were frequently worn.Usuallytheymatchedthecolour ofthe womans hairand were quite plain. Some women added ribbon,velvetstrips,braidorbeadingtocreatemoreelaboratehairnets.

Carte de Visite ca 1864

"The loss of easy access to the centers of fashion created a deprivation often mentioned by the ladies of the

Confederacy during the Civil War. In Gone With The Wind among the most valued contraband goods that Rhett Butler

smuggles through the blockade and brings to Atlanta are rich fabrics and fashion news."

The South By Rebecca Mark, Robert Vaughan

^ 48 *

Cased Ambrotype ca 1861-1862

This very ornate snood with hanging ornamentation created to resemble sausage curls at the bottom was worn circa 1861-1862

Rachel Willson ca1862

The snood above was worn ca 1862 and has a long veil which hung down the back of the neck. Ribbons complete the look.

Mrs. A. K. Towne July 1863

This moderately decorated snood was worn in 1863. It is set far back on the head.

Martha Lee

This is a plain snood worn low on the back of the head holding the rolled hair in place

Mary Sternburg nee Spencer

Some snoods had ribbons and decorations which hung down on one side only

The Snood

Bonnets were also fashionable. Bonnets generally had a decorative edging at the back to

cover the hairstyle of rolls or buns. Usually there were two sets of bonnet ties. One thin

set was utilitarian and tied in front to hold the bonnet in place. The second set was more

decorative and was usually fashioned of very wide material which could be left untied

to hang down in front in order to show off the beautiful colours, fabric or design.

Some women tied the wider ribbon under their chin either in front or at the side, but

most left the ribbons hanging.

Even this older woman wanted to be in style. Her bonnet is the height of fashion circa

1863-1864 with two wide ties hanging loosely. She adds a lovely embellished shawl to

her ensemble.

Carte de Visite ca 1863 Grandmother Zoller ca 1864-1865

Carte de Visite ca 1863-1864

^ 50 *

In 1865 this couple dressed in their bestclothes withthegentlemanwearing themore/itted frock coat rather than the casual loosesack coat.Thefrock coatwasastepabovethesackcoatandwasmoreliketodayssuit.His wife is wearing a gown with a Bishopsleevewhichreplaced thePagodasleevefromthe early 1860s. The Bishop sleeve droppedfromtheshoulder, was full atthe elbow andthen/ittedatthewrist.By 1864skirtswereat theirwidest andwerefullerat theback thanthefront. Fancyruf/les,braiding, fringesor frillsusuallyappearedonlyatthebottomoftheskirtasweseeinthisbeautifulwomansgown.

Mrs. Joseph Curtis 1862

This woman is wearing a typical gown of the early

1860s. Full Pagoda sleeves dropped from the

shoulder, with an undersleeve, create the illusion of

the much sought after tiny waist. Her bodice has a

natural waistline and removable collar. Her hair

follows the typical hair fashion of this early period -

covering her ears, parted in the middle and pulled

back to a roll at the nape of her neck. The extreme

fullness of her skirt is very apparent in this photo.

Carte de Visite July 1865

^ 51 *

Herhairisstillcentrepartedbutnowpulledbacksothatherearsshow.This isabeautiful exampleoflaceopen/ingeredgloves, gorgeousbrocadematerial inthegown, widePagoda sleeveswithanundersleeve(popularinthe early1860s). Snoods, orhairnets,cameinavarietyofstylesfromplaintofancy,andthiswomanhaschosentowearaverysimpleone.This is the type of gown awoman wore for special occasions. The belt at her naturalwaistlineemphasizesherwaistandaddstotheillusionofatinywaist, theidealinfemininebeauty.Herhaircoversherearswhichwasappropriateforcirca1861and1862.Heropen/ingeredlaceglovesaretypicalforthistimeperiod.

This young lady iswearing a popular indoor jacket called theZouave Jacket. This wasashortloosebolerotypejacketwornoveraskirt.Thiswaspopularcirca1863andlater.

Left:Hannah Comstock ca 1862

Right:Carte de Visite unknown subject

^ 52 *

Thisyoungmotherandherdaughterhadtheirportraittakencirca1864.At themothersneck isaportraitbroach, almostcertainlyofherCivilWarSoldierhusband.Mrs.MaryThomas&EllaSeelargerimageatbeginningofarticle.Evening wear duringthe Civil War era was quitedifferent from daytime wear.Women wore gowns withdropped necklines whichrevealed their necks andshoulders. Short sleeveswereinstyle.Because gowns during the1860s were made up ofseparatepieces, women oftenhad two bodices made withone matching skirt . Onebodicewouldbeshortsleevesandscoopneckedforevening,t h e s e c o n d w o u l d b eappropriate day wear withsleevesattached.

Thisisanearlyexampleofaneveninggownworncirca1861or1862.

Cased Ambrotype. Unknown subject

^ 53 *

Popular magazines during the Civil War offering fashion news and views were Godey's Lady's

Book (1830-98), Peterson Magazine (1849-92), and The Magnolia: A Southern Home

Journal (1862-65).

Above Left: The Magnolia, University of Virginia.

Above Right: Peterson Magazine Wedding 1864, NYPL.

Left: Godeys Ladys Magazine Bridal Fashions 1861 Library of Congress.

^ 54 *

This is another early1860s evening gownexposingbare shoulders, neck andarms. Thiswomanwearsabeautifullacemantelandasnoodholdingherhairbackinarollatthenapeofherneck.This young lady is also wearing evening dress. Her dress gives the appearance of bareshoulderswithits/limsygauzetypematerialcoveringattachedinaVformationtothetoppartofhergown.

Carte de Visite ca 1864. Unknown subject

Cased Ambrotype early 1860s. Unknown subject

Evening Gowns

^ 55 *

Thisstatelywoman(Opp.Page Top rowleft)isdressedintypicaloutdoorclothingoftheearly1860s.Shewearsafancybonnetadornedwithdecorativetieswhichhangloosely inordertoshowoffthematerial.Oftenasecondsetofthinnertiesheldthebonnet/irmly inplaceandtiedunderthechin.Ribbonsandotherdecorationsadornthisbonnetaswasthecustom.NotethefullPagodasleevewithundersleeve.A lacemantelis fullenoughtoaccommodateherfullskirt.Mantels, shawls and capes were oftenworn for practical reasons as theywere the onlyclothingthatwould/itoverwomensfullskirts.Thisyoungwoman(Opp.Page Toprowcenter)circa1862wearsthetypicalcenterpartedslickedbackhairwitharollatthenapeofherneck.Hersnoodcoversherhairattheback.HeroutercoatisaPaletotwhichislongandfullwithverywidesleeves andalarge loosepocket.Herskirtappearstohaveahoopunderitratherthanfullcrinolines.Thiswoman(Opp.PageToprowfarright)wearsahiplengthPaletotwithpocket.Itiswideenoughto /itoverherfullskirtandhasaloosewidepocketforherhanky.Thesleevesaredropshoulder,fullattheelbowandnarrowingslightlyatthewrist.CapeswerepopularduringtheCivilWar.KateMiller(Opp.Page Bottom rowleft)deckedherselfin furs circa 1863. Shewears a fur stole, a fur hat, furmuffand a tight fur bandaroundherlowerarms.Alongcapecoversherdressandisvisibleunderherfurstole.Thisolderwoman(Opp.PageBottomrowcenter)wearsabonnettiedinfrontandwithalongveiladdedatthesidesandback.Shewearsafurtrimmedmuffandouterjacket.Thiswoman(Opp.Page Bottomrowfarright)wears open/ingeredlacegloves, anuntiedbonnetandalacemanteloverhermultiplelayersofclothing.Notethefullnessofherskirtswhichhavenow reachedmaximumcircumferenceso popularinthelaterpartoftheCivilWar.

^ 56 *

Elisa Spoor ca 1862Carte de Visite ca 1862.

Unknown subjectCarte de Visite ca 1864.

Unknown subject

Kate Miller

Carte de Visite. Unknown subject

Carte de Visite ca 1864. Unknown subject

Outdoor Clothing

^ 57 *

Photos usually portray people wearing theirSundaybest ortheir eveningwear. Butmanypeoplecouldnotaffordexpensiveclothesandrelied on homespun clothing which theyattemptedtomakeasfashionableaspossible.Hereweseeafamilyin1863wearingclothesthat are made from cheaper cloth. Thewomens dresses do not have /ine detail orembroidery or other embellishments. Theyounggirls dress /its rather loosely andmaybehermothershandmedown.Themothersonlyadornmentisherbonnetwhichhasafewdecorations and a wide ribbon. She ties itratherroughlyunderherchinwithnoattempttolettheribbonshangortieitneatly.Manywomenlosttheirhusbands,brothers, sonsorfathersduringtheCivilWar.Mourning

attirefollowedstrictrulesdependingontherelationshiptothedeceased.ThesewomenarewidowswhohavelosthusbandsintheWar.Theyareclothedcompletelyinblackwithheadcoveringswhichhidetheirhairandcomedownpasttheirshoulders.

Samuel Smith & Family ca 1863

Right:Carte de Visite

circa 1863

^ 58 *

Young girlsweredressedasminiatureadults.Very younggirlswore skirts andpetticoatsthatweremidcalf withpantaloonsat anklelength. In1862threeyearoldMaryMermodworeashorterscoopneckeddresswithpantaloonsjustbelowherknees.In1863littleFannyTowneworeascoopednecklinewhichwouldhavebeenidenticaltohermotherseveningorformalgown.As girls grew older and developed a bust, skirts and petticoats became ankle length orlonger,andpantaloonsbecameshorter.ThesistersEmilyandSusieFryerin1863have

Left:

Mary Mermod 1862

Right:

Fanny Towne

July 1863

Young womens fashion

^ 59 *

longerskirtsandtheirpantaloonsbarelyshow.

Carte de Visite. Unknown subject

Emily & Susie Fryer

Young boys often wore a short jacketcalledan Etonjacket. Itwas loose /ittingand casual. This brother and sister arewearing their best c lothes c irca18641865. The young lads jacket is anEtonstylejacketandhishairiscurledandpomaded while his little sister wears anofftheshoulder gown with a hint ofpantaloonsshowingbelowthehem.

CartedeVisite.Tommie&KatieStahl

^ 60 *

Olderyouths dressedmuch liketheirfathers. Thesebrothers (above)areposedfor theirportraitinMay1865.OnebrotherwearsayoungerEton style jacket with curved neckline, while theseatedboywearsanout/itwithanotchedcollaronhisjacket.Otis&HerbertTreadway(Right)Young cousins Otis & Herbert Treadway had theirportrait taken ca 1861wearing Military AcademyJackets.

Young mens fashion

Edward & Robert Botton May 1865

^ 61 *

Mens FashionMens fashions during theCivil Warweremuch simpler thanwomens and not asmanyrules applied. In general therewere four types of coats worn by men during this timeperiod. The loose /itting sack coat was very popular. It had wide shoulder seams, fourbuttonsdownthefrontandanotchedorshirtcollar.Vests or shirtcoatswerewornbymen and thesecould bealmostany style. Usually theywerecutstraightacrossthebottomandhadashawlornotchedcollar.Trouserswerehighonthewaist,hadbuttonfrontsandalmostalwayshadsuspenderstoholdthemup.

George Bell

^ 62 *

A frock coat which was a notchabove a sack coat, was also worn. It was cut to /it theindividualandcutstraightacrossatthebottom.Manyhadvelvetcollars.Thecutawaycoatwassimilartothefrockcoatbutthefront/laredbackinsteadofbeingstraightacross.A tail coat, with the back of the jacket longer than the front, was only worn for formaloccasions.Menshair tendedtobelong, almost collar lengthand constructedwithelaboratewings,rolls andswirls. Thesewerekept in place with hair oils, Macassarsor pomatums whichgavetheappearanceofwethair.Facial hairwas also varied. Somemenworemustaches, others did not. Beardsmight beneatlytrimmedorlongandunkempt.In general women followed traditional rules of fashion, and they saw to it that theirchildrenwerealsodressedappropriatelyforthetimes.Menhadfarmore/lexibilitywhere

Fitted Frock CoatPeter Wilson

Tail CoatCarte de Visite.

Unknown subject

ruleswereconcernedandthusweseeagreatervarietyofclothingandhairstylesformenduringtheCivilWar.Now,trydatingyourCivilWarphotographicmysterieswiththehelpofthisjourneyintothecostumeoftheperiodandanewlyeducatedeye.Thecluesarehereforyoutouse.

Lorine McGinnis Schulze's collecting passion is Civil War Era photo albums and photographs, some of which she displays on her website Olive Tree Genealogy in a section called "Lost Faces." Her Civil War era collection specializes in Cartes de Visites of women.

All the photographs contained in this article are from the collection of the author.

Godeys Magazine 1862

PENELOPE DREADFUL

a dreadful sacrificeTHE WAR - ALWAYS THE WAR

BY PENELOPE DREADFUL

Theyoungwomanbent herback to lift theheavy shovel /illedwithdampearth. Dig, lift,toss aside.Dig, lift,tossaside.Itwasajoylesstask intheearlyspringwarmth.Therobinsscuttlednearbysearchingforplumpearthwormswrigglingtheirwaythroughthemoundofearththatlaytothesideofthedeepeninghole.Dig,lift,tossaside.Thesunwaslow intheskywhenshe/inallysetthe shoveluprightinthesoil.Herhandswereblisteredandsore.Her facewassmearedwithdirtwhereshehadpushedback herfairhair.Tearshadlongsinceceasedtostreakhercheeks.Intheirplacewasa/irmresolve.Annalookedeasttothesmallneatclapboardhouse,andstartedtowalkfromthetreelinedgroveacrossthe/ieldtowardhome.Inthedistanceshecouldseelightstwinklingfromthenearbyfarms.TheMillersmustbegettingreadyforsupperbynow,shethought.Theyhadinvitedhertojointhemfortheeveningmealwhenshesawthemthismorning,butshehadbeggedtobeexcused.Shedidnotwantinterruptions inwhatmustbedone. KindoldMr.Millerhadnoideawhen he sent the dandeliongreens to hermother that Mother wouldnever enjoythem.Ashardasitwastoleavetheolderwomanaloneandcoldinherbedthatmorning,Annaknew thatshemustmaintainthe/ictionoftheirquiet lifeforatleastonemoreday.Aftertoday,however...^ 67 *

Pausing to quicklywash the earth from her hands and face, Annawent to hermothersroomandgazedonelasttimeattheolderwomanssweetface. SmoothnowwerethelinesofworrythathadappearedwhenhertwoyoungsonswentofftoWar,andthendeepenedwhenherhusband left to jointhem. Together Annaandhermotherhad justmanagedtokeepupwiththegardenandorchard.Now,therewasnothingtokeepAnnahereanylonger.The/irstletterwasablowtothesoul,bythesecondAnnawasnumb.Nothing,andnoone,atall.Grimly,Annaperformedthenecessarytasksandrespectfullyplacedhermothersbodyonthesmallgardencart.Therewasnotimeandnoonelefttobuildawoodencof/in.ThecartwheelssqueakedinprotestasAnnapushedthecartbackacrossthe/ieldtothelittleplot.Itwasoverquickly,eventheprayers.Annapausedtosoftlysingthewordsofhermothersfavoritehymnas thesunturnedbrightorangeandslippedoverthehills. Thensheturnedandpushedtheemptycartbacktothehouse.At thedoorAnnatook adeepbreathand straightenedher shoulders. Shewouldhavetomove quickly. Day after day as the fever sapped her mothers strength, Anna carefullyconsideredherplans.Whenthethirdletterarrivedjust lastweek,Annaknewhercourse.Now, without hesitation, she went to a trunk in her brothers room and took out thecarefullyadjustedclothing.Soonshewasdressed in trousers, shirt, andvest. The bootswereabitofaproblem, butthree pairs of heavy wool socks helped to /ill the gaps. Sheconsideredher image in themirror.Peoplealwayssaidshelookedmuchlikeherbrother,Tom.Now,thoughtAnna,asshecutoffherlonglocksjustbelowherears,theywillthinkIamhisyoungerbrother! The image that staredback at her fromthemirrordidlookremarkablylikeTom.Wavyblondehairsurroundedclearskin,astraightnose,anda/irmchin.Onlythetwinkle inToms usualmischievous eyeswas missing, to be replacedby Annas sadanddeterminedgaze.Itwouldbeeasierandsafertotravelalonedisguisedasaboy,shethought,shejusthopedshecouldarriveintime.

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Annaseyesdroppedtothetopofthebureauwherethephotoofayoungmanwasproppedagainstthewood.HelookednothinglikeAnna,orTom.Theyoungmanseyeslooked/irmlyintoAnnas,andshecouldrecalleverydetailofthedayheaskedhertobeMrs.Miller,andthenthewayhedroppedhisgazeandaskedhertowait.TheWar.Always,theWar.Hertransformationcomplete,Annastudiedthepictureagainandtouchedtheimagetoherlips beforeslipping it into her shirt pocket alongsidethe crumpledenvelope. An orderlyhadhelpedHenrywritefrom anArmyhospital andAnnaintendedto /indhimandbringhimhome.Annasbrothermightnever return, butshewas/inishedwaiting forHenry. Ifonly,sheprayed,hewouldwaitforher.

Copyright2010,DeniseLevenick^ 69 *

BA Date With

An Old PhotographCivil War

By 1862, the Civil War was costing the Union $2 million dollars per day and the government was desperate for money.

The United States taxed many and varied items in the 1860s to pay for the Civil War, or the War Between the States, if you lived in my part of the country.

Medicines, matches, playing cards, photographs and perfumes were classified as proprietary items and were taxed by the Union government.

Stamps issued are listed in the Scott Specialized Catalogue of United States Stamps and Covers in the Private Die Proprietary Stamps section.

On June 30, 1864, Congress enacted a tax on all "photographs, ambrotypes, daguerreotypes or any other sun-pictures," to be paid for by attaching a revenue stamp on the back of the photograph.

Stamps were applied from 1 Aug. 1864 to 1 Aug. 1866. The tax was set at 2 cents for

a photograph "with a retail value of not over 25 cents, 3 cents for a photo costing over 25 cents but not over 50 cents; 5 cents for photos costing over 50 cents but not over a dollar; and for each additional dollar or fraction of a dollar, another 5 cents. (See chart of images of Revenue Stamps contained in this article.)

Photographs being bound into books, and the tiny gemtypes, too small to put a stamp on, were subject to a 5% tax and was paid in cash to Internal Revenue.

There was no stamp specifically for photographs. There were two dozen different types of revenue stamps. The revenue stamps used most often on photographs were Proprietary.

Keeping so many different kinds of Revenue Stamps in stock was difficult. Due to a myriad of complaints, in 1862 the law was altered to make most of the stamps interchangeable. At this point a wide variety of revenue stamps could be used on photographs as long as they reflected the correct amount of tax.

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The stamps that are found on photographs are usually one, two, or three cent stamps of the following types: express, playing cards, telegraph, bank check, certificate, proprietary, foreign exchange, or U.S. Internal Revenue.

Due to their popularity, most stamped photographs found today are cartes-de-visite. Some 4.5 million were produced during the Civil War.

Cartes usually cost around a quarter, although sometimes six for a dollar, and later ten or twelve for a dollar. Two cent or three cent stamps are the most common values found on cartes-de-visite and tintypes. Higher values can be found on daguerretypes, ambrotypes and hand-tinted photographs, the cost to produce these being more expensive.

The tax on photographs was rescinded in 1866. The reason seems to have been aggressive lobbying by photographers and photographic studios.

Revenue stamps were printed by the Philadelphia firm of Butler and Carpenter.

If you have a photograph with a Civil War Revenue Stamp you have a great dating tool!

Fig. 2

Fig. 11 cent

Proprietary Stamps - No 4 cent stamp shown

Above NewYorkTimesarticle,October1864listing thetypes andamountsofRevenueStamps.Thegovernmentdecidedthatforeveryitemtaxedtherewouldbeauniquestamp. The1, 2,3,4centproprietarywereusedforphotographs. Ihavefoundno4centproprietarystamp.Thegovernmentcouldnotkeepupwiththedemandforspeci/icstamps,andonDecember2,1862,thelawwasalteredtoallowstampstobeinterchangeableaslongas they re/lectedthecorrect amountoftax. In1865congressreducedthetaxonimagescostingunder10centstoa1centtax,whichproducedaveryrare1centstampinredcolor.Allstampspicturedareaf/ixedtophotographs.

Fig. 22 cent

Fig. 33 cent

Fig. 42 cent

Fig. 73 cent

Fig. 65 cent

Sample Revenue StampsPlaying Card Stamps

Fig. 55 cent

Certificate Stamp Telegraph Stamp

Express StampExpress stamps originally were required on receipts given to customers by express companies, which shipped parcels.

Late in 1862 Express stamps could be used on photographs, as could any Revenue stamp of the correct denomination.

Playing card stamps are known to have been used in the summer of 1866 as other stamps were unavailable as the levy came to an end.

Fig. 81 cent

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Internal Revenue Stamp

If the photographic image cost 50 cents to a $1.00 a 5 cent revenue stamp was attached. More than $1, there was attached 5 cents for each additional dollar or fraction thereof.

If the photographic image cost 25 cents to 50 cents a 3 cent revenue stamp was attached.

If the photographic image cost was notover25 cents a 2 cent stamp was attached.

Fig. 92 cent

Fig. 102 cent

Fig. 112 cent

Bank Check Stamp

The Civil Wars most pessimistic

photographer.

W h e n t h e C i v i l W a r

commenced, it was a widely held belief that the war would be over in a year.

Obviously the photographer Bennett, believed the war would

be around for some time. He designed an imprint for his studio that incorporated a box for the required revenue stamp and had the cards printed.

Note : I have found no o ther p h o t o g r a p h e r w h o s e i m p r i n t incorporated the Revenue Stamp.

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The law required photographers tocancel each stamp and record the dateof the photograph on the stamp. Someused a handstamp similar to apostmark,asseenbelow.

Most photographers simply cancelledthestampusingapen.

Stamped photographs are sometimes foundcanceledwiththe initials of thephotographer,withorwithoutadate.

Hand StampDec. 2, 1865

How Stamps Were Cancelled

U & S InitialsUpson & Simson

No DatePen Cancelled

No Date

L. L. Booth InitialsMay 30, 1866

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Sometimes stamps were canceledsimplywithaslashoran"x."

Slash or XNo Date

Some stamps found were not cancelled.

Not Cancelled

Therewasatendollarpenaltyforeachfailurebyaphotographerorphotographicstudiotoaf/ixtherequiredtaxstamponaphotograph.Does The Absence Of A Stamp Mean You Do

Not Have A Civil War Photograph?Ofcoursenotallphotographswerestamped.Largephotographicstudioswereallowedtodeterminetheamountoftaxowedandremitto theInternalRevenuewithoutaf/ixingandcancelingstamps. Thiswasprobablydonetoappeasethelargephotographicstudioswhoinmanycaseshadtohiresomeonejusttoaf/ixandcancelthestamps;acostthathadtobeabsorbedbythephotographer.Carteswereoftensoldbythedozen.Thestamponlyhadtobeaf/ixedandcancelledononephotograph,leavingelevenphotographswithoutastamp.Somephotographersavoidedthestampscompletely,apracticethatwasnotlegal.Otherphotographssuchasthosebeingboundintobookscouldnothavestampsaf/ixedtothem.Photographs put into lockets were too small for stamps. The revenue act enacted a 5percenttaxonthisformatwhichwaspaidbytheclientdirectlytothephotographer.And,youmayhaveaConfederatephotograph.TheConfederatestatesdidnothaveataxonphotographs.

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Henry and Robert Johnston, whosephotographystudiowaslocatedat867B r o a d w a y , w e r e C i v i l W a rphotographers.RobertJohnstonbeganh i s pho to g raphy c a re e r a s adaguerreotype artist around 1854,probablyworkingwithMathew BradysincetheiraddressesarebothlistedinNew York City directories at 359 and205Broadway.In 1866, Johnston Bros. becameJohnsonandHowell.

No Revenue Stamp

Thisphotographwouldbedatedpriorto1866,becauseofstudionamechange.Snood,hairstyle,glasses,capeanddressareCivilWarera.Whilethereisnospeci/icdate,thisisprobablyaCivilWarphotograph.

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Hand cancelled 3 cent U.S. Revenue Stamp, marked with the photographers initials U & S - Upson & Simson, Buffalo, New York.

This photograph would have cost between 25 and 50 cents.

This CDV was taken May 30, 1866 and cost between 50 cents and not over a $1.00.

The high cost was probably due to the hand coloring.

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Darrah, William C. Cartes de Visite in 19th Century Photography. Gettysburg: Darrah, 1981.McCulloch, Lou W. Card Photographs, A Guide To Their History and Value. Exton, Pennsylvania: Schiffer 1981.Mace, O. Henry. Collector's Guide To Early Photographs.Iola, Wisconsin: Krause, 1999.Mautz, Carl. Biographies of Western Photographers. Nevada City, California: Carl Mautz Publishing, 1997.Nickell, Joe. Camera Clues. Lexington, Kentucky: University Press of Kentucky, 1994.Palmquist, Peter. Pioneer Photographers Of The Far West A Biographical Dictionary, 1840-1865. Stanford, California: Stanford University Press, 2000.Severa, Joan. Dressed For The Photographer. Kent, Ohio: Kent State University Press, 1995.

Fossil, Piedmont. Tax Stamp Page. Flickr. November 3, 007. http://www.flickr.com/photos/piedmont_fossil/1844258448/.

Earliest Known Photograph ofAbraham Lincoln

Library Of Congress

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Janine Smith leads us down the path to restoration.

PART II

THE MOST IMPORTANT

THINGS

All Photographs Are History

NOTHING VENTUREDHere'sthebadnews:Thechancesofbeingabletomasterphotorestorationrightoffthebatisslimatbest.Manypeoplemakethemistakeofthinkingrestorationisoneofthosethingstheycanstarttodayandmakemoneyattomorrow.Theyarewrong.BeforeIscareyouoffoflearningtodigitallyrestoreyourownfamilyphotos,though,pleaseunderstandI'mmerelyurgingyoutousecautioninattemptingtotrytoomuchtoosoonyouknow:Don'tsailoutfartherthanyoucanrowback?Ifyoudo succumbtothetemptationtobelievethatdigitalphotorestorationiseasy,aswithmostthingsdoneinthatframeofmind,there'sanumberof possible outcomes, but I'm most concerned about two in particular. One is where apersonmaybelievethatitreallyiseasyandtheydoagoodjob,suchagoodjob,infact,thattheydecideto notonly restoretheirownphotos, buteveryoneelse'saswell, hangingouttheproverbial shingle. This onlyperpetuatesthemyththat digital photo restorationisaneasy,unskilledtask, junkartasitwere.Thepeoplewhoreallysufferinthisscenarioarethepeoplewhopaygoodmoneyforunacceptablework.TheotheroutcomeI'mconcernedaboutwhentherestorationlearningprocessisrushedisdiscouragement.Youknow the feeling, I'msure. Rushingheadlong into a project withouttaking the time to really learnhow to do it. Think of it as trying to put together ahugethingamajigwithhundredsoftinylittlepiecesandparts.Withoutthedirections.Chances

If you've decided to go all inand learn photo restoration, good for you! Pat

yourselfontheback forcaring enoughaboutyourfamilyhistory tobe able to

wanttodoitright!Iapplaudyou!

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aregoodthatyou'llgetafewpiecesouttogether,thenrealizeyoudiditwrongandhavetostartover.Afterafewtimes,you'reprobablygoingto giveup,maybewiththeintentionofactuallyobtainingandreadingtheinstructions,theobjectivebeingtotryagainanotherday.At the very least, you'll put theproject off. Theworst case scenario is that you give upforever.It'snotworthit.Finis.Thatwouldbetherealshame.Because,likemosteverything,it'snotreallyallthathard,especiallyrepairingthelesserdamage, if, ifbeingthekeyword,here,IFyoutakealittletimetolearnsomebasics!IT'S ONLY PHOTO RESTORATION!Forpity's sake! It's not like this is brain surgery! Lightenup!Yes, Iknow somepeoplewouldthinkI'mtakingthiswaytoseriously.Afterall,therearenodegreesindigitalphotorestorationit'susuallynotevenconsideredastandalonebusiness, ifitisit'smorethanlikely the 'hobby'sort ofbusiness, used tomakea few extra bucks. Photo restoration is,historically, a sidelineserviceconnectedtophotographyor genealogy.Mywork, infact, isLandailyn Research & Restoration, a genealogical services business. Over time therestorationparthasbecomeasbigas theresearchpart, ifnotbigger,but it tookaLOToftime,work,education, patience,promotionandreputationbuilding.Yearsworth.Ido takeitseriously,becauseIknowthatreallywelldone,professional,highendphotorestorationisasvaluableaswelldoneweddingorbabyphotographyandmeansasmuchtotheclient.Allyouneed to understand that is to see a client tearupseeingaphoto of theirmother, orgrandmotherwho they haven't 'seen' in years dueto excessivedamage, restored.Watch,justonce,someonewhohasonesurvivingphotooftheirmother,andthatbadlydamaged,cryastheytellyouit'sthe/irsttimethey'veseentheirmother's faceinthirtyyears, thentellmedigitalphotorestorationisn'tavalid,importantservice!THE MOST IMPORTANT THINGSIfyou'vedecidedtogoallinandlearnphotorestoration,goodforyou!Iapplaudyou!Ialsoencourageyou:

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DON'T GIVE UP Nobodyeversaidthatanythingworthdoingwouldbeeasy.Therewillbetimeswhenyoufeellikeyou'renevergoingtogetit!There'sjusttomanythingstolearnandyour restorations always turnoutnot quite right, wheneveryoneelse onthe planetwhodoesrestorationisbetterthanyoubelieveme, Istillhavedayslikethat! Ionlyaskthatyounotgive in to these feelingsandkeepworkingon it! Takeanhour, or a dayoff.Don't beatyourselfup.Romewasn't built inadayandall that! Giveyourselfabreakandpermissiontonotbeperfect.It'll all come together in time!DEVELOP AN 'EYE'I'mnotsayingyoushouldconcentrateontryingtoformathirdeye,I'msayingyouneedtoworkonlearningtoobserveyourownwork.Inasense,becomeyourownworstcritiqueitsoundslikeI'msayingtheoppositeofwhatIjustsaidabove,butI'mreallynot. Learnto detachyourselfenough fromyourworktobeable to critic ithonestlywithout beatingyourselfupthat it why I call it 'observing' your work. Learnto look atyourworklikeadetachedthirdparty.Thewaytostartthisis,whenyouthinkyou'redonewithaproject,orifyou'restuckonacertainpart,saveit,closeitandleaveit!Afteraday,ortwo,orfour,comebacktoitandtryto lookatitwithanunjaundicedeye.Now, saytoyourself, nooffense, butthatcouldusealittleworkorSomethingdoesn'tlook quiteright. Thinkofitasagrowthexercise.Whenyou learntodo this, you'llbecomeyourbest critiquebecauseyouwon't betellingyourselftheworkisgreat,whenitcouldbebetter,becauseyoudon'twanttohurtyourownfeelings!NEVER STOP LEARNING This isoneof themost important bits ofadviceI cangiveyou! The software program I use, Photoshop, has so many features, so many ways tocombine/ilters,adjustmentsandtools,anearlylimitlesspotentialforlearningandgrowth,thatI, personally,don'tknow ofanyonewho evenclaims to know itall, andIbelong to avastassociationofPhotoshopprofessionals, peoplewhoworkwiththesoftwaredailyandteachotherstouseit! IcanhonestlysaythatIlearnsomethingnew,adifferentwaytodosomethingoratwistonanoldway,constantly!Ilookatmyworkfromayearago,evensix

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months ago, and realize how much I've grown in my abilities in that short time. It's aconstant, never ending, wonderful cycle of discovery! Play! Play with tools, brushes,settingswhenyoufollowatutorial, useitasastartingpoint,only!Nevergetstuckdoingthesamething,usingthesametool,thesamemethodoneveryphoto!Oldphotosandwhatis needed to restore them will neverbe thesame!What works on one will needa littlemore,orless,tweakingonanother,evenifthedamagelooksthesame!NOT A BATCH PROCESS

Digital photo restoration is not a batch process! There is no magic button that will take care of all

the damage on a photo and restore it to near perfect condition, no matter what software makers

claim! Yes, there are a few examples that will get rid of certain kinds of damage, very minor in

open areas (for example, plain backgrounds) fairly well, but what are the chances all your

damaged photos will have all the same damage, of just that variety? No magic bullet software

will repair facial features, textures and details like good, old fashioned skill and patience can!

^ 86 *

WHEN TO SAY WHEN

How do you know when a photo has too much damage and is just beyond your skill level? My

first suggestion, if you've put in your due diligence, learned the basics of restoration and put in

some practice time on some of your less damaged photos, would be to at least try! Some damage

that seems incredibly daunting when you're just starting out can look much more doable when

you have some skills under your belt! But let's say you have tried and it's just beyond you, or the

one photo you really want to restore has major damage and you don't want to put in the prep time

learning the basics, you just want to get down to the nitty gritty! What to do when you don't have

the skill, the confidence or the time to work on a heavily damaged photo restoration? Perhaps it's

time to call in a professional!

For some reason, not a great deal of thought seems to go into finding a professional to restore

family photos. Either it's a project taken on as a hobby, or the photo is taken to the first name in

the phone book. Imagine doing this with another family heirloom, a piece of furniture, perhaps,

such as the only piece made by George Hepplewhite known to exist. Would you take on it's

repair as a hobby if you were untrained in the art? Glue a leg back on or put a screw or nail in it?

Would you take it to just any furniture repair shop? While this example may be a bit extreme

your family photo probably won't bring many thousands of dollars on the auction block, it is just

as rare! In most cases, that photo is the only one you have, it's truly one of a kind! I've seen many

examples where a photo is the only one in existence of a certain relative! To you, the descendants

of the persons pictured, these photos are truly rare, valuable and precious artifacts!

Finding a skilled digital photo restoration artist shouldn't be a crap shoot. The first thing you

need to do when looking is just that: look. Never take someones word about their skill level, or

believe, out of hand, the claim We're the best. Adopt the theorem Prove it. Just as you

shouldn't take the old clock that's been in your family for generations to Joe the Clock man who

just started repairing clocks last week, you shouldn't trust your photo restoration to someone who

has restored two of their own family photos and decided to go into business for themselves!

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LOOK FOR:

Does thepersonyou'relookingathaveawebsite?Ifso, do theyhaveanonlinegallery?Ifthey don't, proceed with caution: These people deal, or should, with the digital worldeveryday.Theyshouldcertainlybeknowledgeableenoughtohaveanonlinegalleryontheirwebsite!Ifthereisagallery,thisis theirportfolio,samplesoftheirworkinwhichtheyareshowingyou,thepotentialcustomer,alltheycando.Withtheirportfolio,theyaretryingtoconvince you, through the variation ofwork (easy/med/hard/colorization/manipulation(backgroundextraction, elementaddition),basenumber ofexamples, multiple categories(restoration,colorization,color/tonalcorrection),presentationofbefore/afterimages,andtheoverallskilloftheresult, tocometothemforyourrestorationneeds.Iftheyhaveone,or two, examples,oralltheirwork isbasicallythesamething,suchasallrelativelyminorwithcolorization, theyaren'texhibiting therangeofskills you'llwanttobeusedonyourfamilyphoto! Especially ifthedamage to yourphoto isextensive, look forexamples thatappeartobeaboutthesamelevelofdamage.Preferablymorethanone.^ 88 *

Dotheyhavealocalpresence?Ifso, isanactualstreetaddressgiven?Remember,thisisabusiness!Ifthereisnophysicaladdress, thatcouldsignalthatthebusinessissimplyaparttimehobbyfortherestorationist.That's/ine,providingtheyhavetheskillstodothework,but it's good to know. If themainconcernofthebusiness is somethingotherthanphotorestoration (photography, scanning, printing, etc.), ask if the restorations are done inhouseorsent away.Many areactually sentoutof thecountry. In localvenues thatofferphotorestorationservices(frameshops,photographysupplyretailers),alsoaskiftheworkis done in house. Many send the work out, often across the country, albeit still in thecountry.Remember,that'syouroneofakindfamilyheirloomthat'sbeingmailed!Thereisno insurance that guarantees your original photo back, unharmed, only that you'll becompensatedforwhattheythinkthephoto isworth,whichmightbuyyouacupofcoffee.Alsothinktwiceabouttrustingyourrestorationtoakiosk inadiscountchainstore.Whilethesemay by /ine for making prints and duplicates, the restoration work is done withautomated software, the a forementioned 'magic bullet' that really isn't. Again, this willnevertaketheplaceofaskilledprofessionalwho'sactuallyaperson.

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Tryto/indsomeoneinyourarea, ifyoucan.Ifphotorestorationistheironlybusinessandthey'renotapartof, forexample,aphotographystudio,theymostlikelyworkoutoftheirhome.Ifyoudon'tlookattheirworkontheInternet,makeanappointmentforanestimate.Asktolookattheirbook,orportfolio.Whetherit'sinabookorontheinternet,takespecialcareto look at thewaytheyrestorepeople.Dotheylookjustliketheywouldinanactualphotograph,orissomethingnotquiterightaboutthem?Dothefeaturesorlimbslookoff,notnatural, ordoportions look paintedordrawn in?Canyouclearly tell that somethinghasbeenaddedtothephotoordothepeoplelooklikethey'vebeencutoutandpastedontoabackground?Peoplearethegreat'tell'ofphotorestoration, especiallythefacial features.Ifthedamage inaphotowas centeredintheseareas andthephoto looks 'goodasnew',you'vefoundatopnotch,highendphotorestorationartist.Rejoice!Getanestimate.There'snoway,shortoflookingatthephoto,eitherviascansentovertheinternet,or,ifinperson,onalightboxwithatleastan8xloupe, thattheartistcanascertainthe damage and give a fair estimate. All estimates should be completely free, with noobligation. Make sure you communicate to the artist exactly what you expect from thework!Whetheryou justwant the scratches cleanedup, the tired colorperkedupor thephototo lookbrandnew, ithelpbothofyou, tremendously, ifyouspell thatoutandsavesomemisunderstandingsandbadfeelingsifyourexpectationsaren'tmet.Forinstance,youbringaphoto to anartist thathasdamageandhasyellowedovertimeandyoudon'ttellthemyouwant to keepthat particularcolor in thephoto andthey give youablack andwhiterestoration.Youeitherleavewitharestorationyou'renot100%happywith, oryoutell themthis isn'twhatyouwantedandthey have to gobackandcorrect it, withanewprintorCDorboth,whenitwouldhavebeensomuchsimplertocommunicateyourwishesinthe/irstplace!Don'tpayextraforlittlenothings.By'littlenothings'Imeanthingslikepaying$15tohaveasepiaorselenium,ortohaveitconvertedtoblackandwhite,oraduotone.Theseareallonebuttonprocesses that takeabsolutelynotime! Ifyoupayaprofessional fortherealwork,theactualrestorationwork, theywillbemorethanhappytoputaprinttoneonitforyou,forfree!

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Bewaryof/latfees!Whetherthey're$5or$40or$75, someone'sgoingtogetrippedoff!Sometimes it's theartist, sometimes it's thecustomer. Also be cautiousof thetoo cheaprestoration.Sure,cheapisascheapdoesandpeopledolovetosavemoney,butitallcomesdown to what your family history is worth to you. Some may take acceptation to thatopinion, andIdounderstandthereareexceptions, suchasapersonwho just can't affordhighendphotorestoration, butthereareways todealwiththat, too! Inmost cases, withlow,lowpricesandlow,/latfees,youtrulydogetwhatyoupayfor!Lookatthisfromthepointofviewoftheonedoingthework:Mybaseprice is$50. Thatwouldbeforthemostminimaldamageyoucanimagine.Ifyoucomein,Ilookatthephotoonthelightboxandseeonelittlespeck, Iquote$50.Excessive?Perhapstosome,but lookatitthisway,Icouldbecharging$50anhour,whichmylevelofexpertise,skillandtrainingasanartistwouldcertainlywarrant,ifnotmore.Ifthatwereso,I'dstillbecharging$50forthatonescratchbecausetheworkwouldinvolvegettingridoftheunseenbitsofdamagethatshowupwhenyouscantheimageandputitinthephotoeditingsoftware.Itthere.It'salwaysthere.Assureasthesuncomesupinthemorning,thereisnever, Isayagain,never'just' one speck. Just becauseyou can't see it withthe naked eye, doesn't mean it's notthere.Bringmeyour'justonespeck'photoandletmeshow it toyouzoomedintoabout300%onanLCDmonitor if you'dlikemeto proveit to you. So, I'm scanning thephoto,cleaning the speck, repairing all the other little specks, spots, hairs and whatnot andputtingitallonCDforyou.Itmightnottakeafullhour,butit'sclose.Ontheotherhand,ifIchargeyou$50for aheavily damagedphoto that might takehours, evendays, I endupbeingpaidacoupleofdollarsanhour. Justforgrins, letssayittakesme40hourstodotheworkandIhavehadprojectsbadlydamagedenoughtotakethatlong, itwouldcomeoutto$1.50anhour.Greatforyou,butIlosemybusiness,myhouseandmymotherandIhave

^ 91 *

to/indacardboardboxandabridgetoliveunder.EvenifIchargeyou$150forthatsamephoto,itstillonlycomesoutto3.75anhour.MinimumwageinTexas,whereIliveandhavemybusiness, is $7.25anhour. IfIchargedthatfor thephoto, itwouldcostyou$290,andstillbedirtcheap,fromtheonedoingtheworkspointofview.

I have a repeat customerwho has brought memany, mostly heavily damagedphotos torestore.Heisveryhappywiththeworkand,fortheamountoftimeputintotherestoration,andtheresultsprovided, thecostisnotallthatmuch.Sinceheis suchawonderfulrepeatcustomer,Ididthreephotosforhimfor$50each.Onewasfairlyminimaldamage,theothertwo were heavily damaged. He took these restorations to a meeting of the genealogicalsocietyhebelongs to to show themoffsince hewasso pleasedwiththework. Everyonethere, hesaid, agreedtheworkwas wonderful, but someof themexpressedthe opinionthatitcosttoomuch.Obviouslyhedidn'tthinksoashecontinuestobeacustomerandoneofourbestP.R.Men,tellingpeoplehowgreathethinksweare,butthecommentsofthosefew,especiallywiththembeingsoactiveintheirfamilyhistories,astoundedme!Ittoldme,louderthanwordsevercould,thatthosepeoplewouldeitherbewillingtosettleforcheap,badlydonework,or that theydidn't value thework doneon theirprecious familyphotoenoughtothinkitwasworthpayingpremiumfor(which,bytheway,theamountIchargedmycustomerwasNOTpremium!)Butwhatifyoubelievethecostofhighendrestorationisworthittoyou,butyoujustcan'taffordit,oryouhavesomanyphotos,evenat$50each,you'dbemovingunderthebridge

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with me? Well, I'll tell you a secret: Most photo restoration artists, or the ones whopassionately lovetheirworkandhistory,wantyoutohaveyourrestorationdonerightasmuchasyoudo! Don'tbeafraidtoaskiftheycanworkadeal,maybeinexchangeforsomethingyoucandoforthembarteringisawonderfulthingandcanoftenbeanadvantagetobothparties!I'vebarteredrestorationforyardservicesbefore!IthelpedthecustomerandsavedmethetimeI'd have spent mowing my lawn! Offer to pass out /lyers for them or do some onlinepromotionforthemthroughblogging,TwitterorFacebook!Tellyourfriends!Becometheirpersonal P.R. Army! I'vedonework for this and for theuse of their photos in tutorials!Thesecanbewrittenoffat tax timeasbusiness expenses, so the artist is gettingagooddeal,too!Askabout discounts for repeat businessor quantity. Inmost cases,we'reso thrilledthatyou'rethathappywithourworkandforrepeatbusiness,we'remorethanhappytocutyouadeal!Especiallywhenitcomeswithsomegreatwordofmouthadvertising!Thebestkindthereis!NOTHING LESS THAN THE BESTWhetheryou'regoingtolearntorestoreyourownphotosordecidetoletaprofessionaldothework, take the time to learn thewhat you need to know to make it the best, mostrewarding experience for you. Even thoughdigital photo restoration is just that, 'digital',andthereforenotwritteninstoneor,heavenforbid,permanentonyouroriginal, it'sstillatimeconsumingprocesstolearn,and,ifdoneright,notcheaptohavedone!Don'trushintoit, takingyourphoto to the /irst name inthe phone book orpickinganameat random!Don't open your photo editing program and expect to be a master within /ive minutes!Rushingheadlongintoeithersituationwillonlysetyouupfordisappointment,eventually.

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Somegood,oldfashionedpreparationwill serveyouwellintheendandyou'll havesomewonderful,welldonerestorationworktoshowforit!

JANINE SMITHLandailyn Research & RestorationJaninealogyJanine Smith, is a professional genealogist and awardwinning photo restoration artist, with over 15 yearsexperience in analysis and family history research andover 30 years experience as a portrait artist. She's coowner, withhermother, Caroline, also a genealogist, ofLandailynResearchandRestorationinFortWorth,Texas.Janine is the2008winner ofthePhotoshopUserAwardforPhoto Restoration, anInternationalcompetitionwithover700entrants, and is proudto benumberedamongthepremierephotorestorationartists.

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Air Force

Navy/Marine CorpsArmy

THE FUTURE OF MEMORIES

the medal of honorIN THE CIVIL WAR

BY DENISE BARRETT OLSON

During and immediately after the American Revolution, George Washington looked forways to recognize the efforts of the menwho displayed great courage and effort. TheAmericans hadno use for the European system ofdecorations whichawarded the eliterather than the courageous. General Washington awarded several certi/icates and evendevelopeda badge ofmerit that couldbe sewn onthe uniform. But, as thenew countryconcentratedonbuilding,militarydecorationswerenotapriority.Then, inDecember1861,CongresspassedabillauthorizingtheNavytocreate200medals"whichshallbebestoweduponsuchpettyof/icers,seamen,landsmenandmarinesasshalldistinguish themselves by their gallantry in actionandother seamanlikequalities duringthepresentwar (CivilWar)." In July 1862, anotherbill was passedauthorizing anArmymedal to bepresented, inthenameoftheCongress, to suchnoncommissionedof/icersandprivates as shallmost distinguish themselves by their gallantry inaction, andothersoldierlikequalities,duringthepresentinsurrection(CivilWar).TheMedal of Honor is the onlymedal awarded to U.S. military servicemembers that iswornaroundtheneck.EachbranchoftheserviceArmy,Navy(theMarineCorpsispartoftheDepartment oftheNavy)andAirForce hasamedalwitha slightlydifferentdesign.Eachdesignincorporatesagoldstarsurroundedbyawreathandtoppedwithaneagle.

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ThereisalsoabarwiththewordVALOR.Themedalhangsfromalightbluesilkneckbandandatthepointwherethemedalisattachedisabluesilkornamentembroideredwith13whitestars.The/irstrecipientsoftheMedalofHonorwerethesixUnionsoldierswhohighjackedtheConfederate locomotive, theGeneral. Because it was the only authorizedmilitary awardduringtheCivilWar,itsusewassomewhatabused.Thisincludedthemembersofthe27thMaine who agreed to continue defending Washington, D.C. for four days after theirenlistmentexpired.

April 12, 2010, was the 148th anniversary of the "Great Locomotive Chase" that made "The

General" famous.

WALKER, DR. MARY E.

Rank and organization: Contract Acting Assistant Surgeon (civilian), U. S. Army.

Places and dates: Battle of Bull Run, July 21, 1861; Patent Office Hospital, Washington, D.C., October 1861; Chattanooga, Tenn., following Battle of Chickomauga, September 1863; Prisoner of War, April 10, 1864-August 12, 1864, Richmond, Va.; Battle of Atlanta, September 1864.

Entered service at