APS Receives IMLS National Leadership Grant for Revolutionary City: A Portal to the Nation's Founding

With an eye towards the 250th anniversary of our nation’s founding in 2026, the American Philosophical Society (APS), in partnership with the Historical Society of Pennsylvania (HSP), and the Library Company of Philadelphia (LCP), will lay the groundwork for the development of an innovative digital portal that will uncover hidden stories from Philadelphia’s revolutionary past.

Thanks to a National Leadership Grant from the Institute of Museum and Library Services (IMLS), these three Philadelphia institutions will create a shared online portal of digitized archival material related to the American Revolution. This portal will break down the institutional barriers between these archives, allowing users to discover stories that had previously been obscured by the physical separation of collections. Both the APS and LCP, founded by Benjamin Franklin, and the HSP, founded to celebrate the memory of the Revolution, hold large and invaluable collections related to the American Revolution and the early national period. But whereas the stories of founders like Franklin and Jefferson are well known, the scattered nature of the records of lesser-known actors has made those lives less accessible to wide audiences. Revolutionary City seeks to remedy that by highlighting the lives of a more diverse Philadelphia.

Some examples of stories waiting to be told, according to HSP Interim President and CEO Charles Cullen are, “Sarah Wister’s journal and Elizabeth Drinker’s diaries, manuscripts containing estimates of damage done by the British occupation, foot-soldier Aaron Norcross, and rich collections of papers of Revolutionary women.”

The project has the backing of America250, the federal commission overseeing the 250th anniversary of 1776.

“America 250’s goal is to educate, engage, and unite all Americans in a commemoration that is of, by, and for the people. The American Philosophical Society’s receipt of the IMLS National Leadership Grant to pursue this innovative and engaging initiative is an important step forward,” said Frank Giordano, Executive Director of the U.S. Semiquincentennial Commission (America 250). “I am confident that the commitment made by these three institutions to bring together the diverse perspectives of educators, public historians, and digital humanists will shed light on untold American stories, promote greater historical education, and encourage broader conversations about the meaning and promise of the United States not only among Philadelphians, but across the country.”

Michael Barsanti, Director of the Library Company, agreed.

“Most histories of Philadelphia in the revolution focus on the work of the founders and the drafting of Declaration of Independence,” says Barsanti, “This project will allow people to see how it was experienced by ordinary Philadelphians, and will reflect the extraordinary diversity that characterized us even then. It is also a remarkable opportunity for three of Philadelphia’s great historical organizations to work together on a project that brings their collections to the world.”

Aside from its compelling content, the project promises to yield important technological innovations for libraries and archives and become a model for institutional collaboration.

“Our goal is to create a unified digital repository shared between three institutions,” Patrick Spero, Librarian of the American Philosophical Society noted, “To do that, we need to create ways for our separate systems to talk to one another. If we’re successful, we hope to expand the scale of this project to include other partners from around the region and perhaps country to create as complete a record of the American Revolution in Philadelphia as possible.”

This one-year pilot grant will fund the planning phase of Revolutionary City and support the APS, HSP, and LCP as they focus on material related to Philadelphia, establishing the foundation for a portal that has the potential to expand to include sources on the Revolution from archives from around the country. Together, the APS, HSP, and LCP see the long-term vision of the portal as a one-stop-shop for students, teachers, scholars, and other lovers of history seeking to access materials related to the Revolutionary War and founding of the United States.

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"Relationships, Reciprocity, and Responsibilities: Indigenous Studies in Archives and Beyond" Papers

September 21-25, 2020

Papers for "Relationships, Reciprocity, and Responsibilities: Indigenous Studies in Archives and Beyond" can be found below.  You will be required to enter a password provided by conference organizers to access them. Please contact Adrianna Link at [email protected] if you are attending the conference but have not yet received the password.

Papers are not to be cited or circulated without the written permission of the author

All events will be held via Zoom (times listed in EDT)


Monday, September 21

1:00 p.m.: Opening Plenary and Keynote 

"Strengthening Indigenous Scholarship, Archives, and Education” a discussion with Lisa Brooks, Amos Key, Jr., and Jennifer O'Neal, moderated by Brian Carpenter


Tuesday, September 22

1:00 p.m.: Panel 1: Reciprocity and Responsibilities Surrounding Indigenous Archival Materials

"All Stories Have More Than One Voice: Telling Native History Today in the 21st Century
Eric Hemenway (Little Traverse Bay Bands of Odawa Indians)

"Building a Discourse of Reciprocity in Archival Science: Making a Case from Research on Ethnographic Archives
Diana E. Marsh (University of Maryland)
Ricardo Punzalan (University of Michigan)

"Revisiting the 'Returning Forgotten Voices' Project, Oaxaca, Mexico"
Danny Zborover (Mexico-Pacific Rim Project)
Aaron Huey Sonnenschein (California State University, Los Angeles)
Salvador Galindo Llaguno (CEDELIO, Oaxaca)


3:00 p.m.: Panel 2: Outreach and Relationship-Building through Indigenous Materials

"Consult, Collaborate, and Listen: Decolonizing Archival Research"
Kelsey Grimm (Indiana University)
Krystiana Krupa (University of Illinois, Urbana-Champaign)

"Putting Indigenous priorities first: consultation and Residential School records at the BC Archives" 
Genevieve Weber (Royal BC Museum and Archives)
Margaret Teneese (Ktunaxa Nation)

"REACHing for Community-Based Scholarship & Partnerships in the Humanities"
Jamie Mize (University of North Carolina, Pembroke)


Wednesday, September 23

1:00 p.m.: Panel 3: Indigenous Researchers in Non-Native Archives

"Being in the Archive: Indigenous Research Methodologies and the Allure of Archives"
Johannah Bird (McMaster University)

"Stories, Language, and the Archives: Haudenosaunee Community Work" 
Kevin White (University of Toronto)

"Knowledge in Poems, Knowledge in Archives: The Historical (Re)shaping Possibilities of Native Women's Poetry"
Liandra Skenandore (Independent Scholar)


3:00 p.m.: Panel 4: Community-Based Language Revitalization

"Rowinatahina Kashi, Teti Nisa: Original Notebooks, New Path - Mary R. Haas notebooks and Tunica Language Revitalization" 
Patricia Anderson (Tunica Language Project)
Elisabeth Pierite-Mora (Tunica-Biloxi Tribe of Louisiana Language and Culture Revitalization Program)

"Tuscarora language revitalization"
Montgomery Hill (McMaster University)

"Utilizing Online Technology to Improve Access to Indigenous Language and Use
X̱'unei Lance Twitchell (University of Alaska Southeast)


Thursday, September 24

1:00 p.m.: Panel 5: Community-Based Archival Initiatives 

"Telling Our Stories Together: Historical Literacy, Choctaw Archives and Community Research"
Megan Baker (University of California, Los Angeles)

"How Tribal Archives Foster Reciprocal Relationships and Activism
Rose Miron (Newberry Library)
Heather Bruegl (Stockbridge-Munsee Community)

"Preserving the Aaniiih-Gros Ventre Narrative Tradition: The Collected Writings of Fred P. Gone ('Many Plumes')"
Joseph P. Gone (Harvard University)


3:00 p.m.: Panel 6: Engaging Digital Archives to Meet Indigenous Communities Priorities

"Revitalization at a distance: Engaging digital archives for language reclamation"
Claire Bowern (Yale University)
George Hayden (Noongar Boodjar Language Cultural Aboriginal Corporation)
Denise Smith-Ali (Noongar Boodjar Language Cultural Aboriginal Corporation)
Sue Hanson (Goldfields Aboriginal Language Centre Aboriginal Corporation (GALCAC))

"Maya Testimonies in the Visual History Archive: Violence, Linguistics, and Self-Determination
Brigittine French (Grinnell College)
Lolmay Pedro Oscar García Matzar (Independent Scholar)

"Rowasu'u: A Xavante Community Archive"
Lori Jahnke (Emory University)
Rosanna Dent (New Jersey Institute of Technology)
James Welch (Fundação Oswaldo Cruz (FIOCRUZ))


Friday, September 25

1:00 p.m.: Panel 7: NASI Alumni Roundtable 


3:00 p.m.: Wrap-up Session

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Q&A: "Archival Profusion, Archival Silence, and Analytic Invention: Reinventing Histories of Nineteenth-Century African American Debate" -- A Virtual Discussion with Angela Ray

Extended answers from Angela G. Ray (AGR), panelist from “Evidence: The Use and Misuse of Data”, panel 1: Evidential Standards (Click here to watch)

 

Question: Do you connect the debating societies of young African American men to the same societies of young women (studied by Mary Kelley, among others)? Do you attribute to them significance beyond the education/experience of the participants? (anonymous)

AGR: Yes, indeed. Important scholarship like Elizabeth McHenry’s Forgotten Readers (2002), Mary Kelley’s Learning to Stand and Speak (2006), and Carly Woods’s Debating Women (2018) informs my own work and encourages an emphasis on the intersectional dynamics of race and gender.

The question of how to attribute significance to educational activity, like a debating society, is an important one. For this project I have amassed persuasive evidence of the benefits to several individuals, and I believe that broader social and cultural benefits can be plausibly demonstrated as well—especially via the members’ later contributions to racial uplift in education, religion, and government. Of course, I am also interested in what participating in a debating society meant for individuals who lacked opportunities later on, or whose lives were cut short; asking those questions gets me thinking about the importance of sociability and camaraderie, about making a supportive enclave within highly oppressive conditions.

 

Question: Dr. Ray, I am fascinated by the rich repository of records you explored in your transcription and analysis of the Clionian Society of antebellum Charleston. How did you learn about the existence of these proceedings? (Kerry Bryan)

AGR: I had prior experience in studying antebellum debating societies that were run primarily by young white men in the Northeast and Midwest. Once while I was reading about societies in the South, I noted two sentences in the first volume of Michael O’Brien’s Conjectures of Order (2004) that describe the Clionian Debating Society and identify the participants as free Black men. This was an intriguing reference, and when I was later at Duke University, I examined the minute book that is held in the library there. Then my search of the WorldCat database turned up the existence of the earlier minute book, held at the Charleston Library Society and reproduced on microfiche in 1981. I was hooked!

 

Question: How does digitization, and presenting digital facsimile, affect historians' conception of evidence? (Dominique Daniel)

AGR: I can offer some observations from my own experience: Most of the sources I used for my doctoral dissertation were available either in their original form in archives or on microfilm. As my career has developed, I am increasingly using digitized facsimiles as sources, primarily of print materials but increasingly of handwritten documents as well. I appreciate the increased access and speed that digitization, especially digital facsimile, has brought; I remember cranking microfilm copies of nineteenth-century census records, for example, and I welcome the ability to use searchable databases from my own computer. I also appreciate the possibility of checking other scholars’ transcriptions of primary sources by examining a digital facsimile.

At the same time, I have witnessed a slow evolution in the quality of optical character recognition, and I keep in mind that electronic searches, like physical searches, are imperfect. Also, especially where handwritten documents are concerned, I want to see the original if that is at all possible, especially if the source in question is important to a given research project. Being able to detect the weight of ink—reproducing the gesture of writing—is sometimes the only method for making a handwritten document legible. I’ve sometimes been surprised by the size or color of a piece of letter paper that I had viewed on microfilm, or by the bulk of a book I had seen in digital facsimile. Substantive knowledge can be gained by examining original materials, especially when our research questions involve form in addition to propositional content.

I have responded to this question by focusing on textual sources, although I would make an analogous case for visual images: digitization offers important access, and different kinds of evidence become available when encountering originals.

 

Question: Can you all discuss the way memory fits into the idea of evidential standards? Does memory as evidence complicate the way we standardize it? Do you think there are areas of growth needed in the field regarding using memories as evidence? (Molly Nebiolo)

AGR: We discussed this question a bit at the conference, and I mentioned Nell Irvin Painter’s Sojourner Truth (1996), an especially important example of historical study of an individual’s life and the ways that her public image was shaped by herself and others during her lifetime and afterward. Merrill Peterson’s Lincoln in American Memory (1994) is another important study that offers a deft presentation of memory practices as historical phenomena. From my own field of rhetoric and communication, Jenell Johnson’s American Lobotomy (2014) studies the ways that stories about lobotomy have influenced perceptions of biomedicine and mental health across time; she draws on sources from medical treatises to horror films.

Rhetorical studies, influenced by Pierre Nora and others, have long claimed a sharp dichotomy between memory and history, but that is changing. Comparable to the perspective that Andrew Schocket mentioned at the conference, my understanding of historical investigation is that it is a form of memory production, albeit a form that has communal expectations for methods, evidence, claims, and arguments. My disciplinary colleague Kirt Wilson has expressed a distinction helpful to rhetoricians: he refers to history as forensic and commemoration as epideictic, arguing that memory encompasses both. That is, history operates within technical arenas of peer-reviewed publications and museum curation, has its own specialized language and accepted methods, and seeks to make factual claims about the past; commemoration has broader participation and fewer methodological constraints, focuses less on accuracy and more on emotional resonance, and emphasizes claims of values and identity more than claims of fact. In the journal Rhetoric & Public Affairs in 2010, Wilson wrote, “Memory is not comprised simply of facts about the past, nor is it solely myth. It is, instead, a rhetorically negotiated commingling of history and commemoration, each form dictating slightly different exigencies.”

 

Question: Has the physical separation of the two volumes of the Clionian Society's Minutes -- divided between repositories in Charleston and Duke University -- contributed to some of the obscurity or silencing of the society's members? Can digitization or transcription bring these archival sources together -- seems like both Angela and Daniel work towards the ends of  collocation? But what are the bounds of a source, archival or otherwise? What to include in the "works" of the Clionian Society or the "works" of Andrew Jackson is still an issue? (anonymous)

AGR: Yes, I think that the physical separation of the two volumes of debating society minutes has definitely contributed to the organization’s obscurity, but another contributing factor is the comparatively small number of scholars who have examined nineteenth-century debating as a significant cultural phenomenon. And yes, through transcribing the two volumes and studying them together, I am enacting a commitment to the notion that the two are most meaningful as a single unit; while that is an arguable proposition, it is productive for the research questions I have. At the same time, I also understand the “works” of the society as including materials no longer extant. Additional documents (e.g., correspondence, lists of officers) are mentioned in the minutes but have not survived, at least in public archives. The group also collected books, some of which are sufficiently well described in the minutes that I can make a confident judgment about their authors and titles. (These include Benjamin Franklin’s Life.) Although the copies that were in the society’s library are no longer together (at least as far as I can determine), I am reading other copies held in libraries elsewhere or in digital facsimile, and I am, in general, considering these texts as part of the group’s holdings. Drawing on the scholarship of colleagues in theater and performance studies, I can also understand the “works” of the society as including its ephemeral, long-ago activities, which must be studied via surrogates like the minutes themselves.

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Q&A: "A Final Image: The Thomas Sully Portrait of Thomas Jefferson"

Select answers from Gaye S. Wilson, author of Jefferson on Display: Attire, Etiquette, and the Art of Presentation

Question: Where do you see the balance between Jefferson and “republican simplicity” and his expensive tastes. . . . I’m wondering about the balance he struck between his taste, the images he wanted to project, and his spending and financial situations? (John Rudder)

GW:  This is a very significant but complex ‘Jefferson’ question. No quick answer but here are a few thoughts.   As president, Jefferson deliberately dressed down and casually received callers at the President’s House, yet he was known for his small, but elegant dinner parties with European wines and food prepared by his French chef and presided over by his French butler. A frequent dinner guest, Margaret Bayard Smith, approved the skills brought by his European staff and wrote that at Jefferson’s table “republican simplicity was united to Epicurean delicacy.” The form of government must remain republican, but Jefferson seemed intent at the same time on elevating the taste of his countrymen by introducing them to Old World refinements that included art, architecture, and cuisine. Just as he cared about his own image, he was sensitive to how the American republic was perceived by the western world. And yes, it did cost him. Many of his expenses while president, such as staff, food and wine, came from his own pocket. As he prepared for retirement in March 1809, he estimated debts contracted while in office at about ten thousand dollars. As always, he was optimistic in covering them with proceeds from his farms. And life would be simpler when he was a “private citizen” and could reduce his style of living to that of a “private family.” But even as private citizen, he never turned away the many guests that called upon the Sage at Monticello, and he continued the image of the elegant host. I discuss in my book, Jefferson on Display, that as he launched his last major project, the founding of the University of Virginia, he knew that it was necessary he maintain the image of gentleman and leading citizen in order to secure the needed support from the Virginia General Assembly. This was while, with the national economic collapse of 1819, his debts mounted to more than he could cover.  


Questions:  Any idea of the document at the bottom of the portrait? (David Maxey);
                    Is there a document on the table or is it fabric? (Anonymous Attendee)

GW:  Good observations and sorry I had to pass over this during the webinar. Yes, you are seeing a document on the desk under Jefferson’s hand in the Mather Brown portrait. Quick brush strokes indicate writing, but the only thing legible is, “M. Brown  p. 1786.” Documents were included frequently in portraits of statesmen. The Gilbert Stuart portraits of Washington and the 1805 of Jefferson, included in the online discussion, both have documents on the desks along with books. In the final portrait, artist Thomas Sully has the figure of Jefferson holding a single rolled document, and again there is an indication of writing that remains illegible. These documents serve as visual reminders as to why these figures were important and their portraits being taken.

 

Questions: Did Jefferson ever write about the experience of sitting for Houdon? (Jon Friedman)  
                    Did Houdon do a mask to do the bust like George Washington? (Kathy Heath)

GW:  Unfortunately Jefferson did not fully comment on his experience in Houdon’s studio, though he did make a reference to a life mask being made. Late in his retirement he recounted to a visitor at Monticello that Mdm. Houdon had anointed his face and shoulders with almond oil while Houdon stood to one side stirring the plaster He made it sound as though the experience was not altogether unpleasant. Certainly he was pleased with the resulting bust portrait. 

 

Question: Can you say more about how different audiences responded to portraits of Jefferson? For example did Federalists and Republicans respond to any of portraits differently? Is there evidence that certain portraits actively shaped his public image or were more widely circulated/popular than others? (Janine Boldt)

GW:  During the contentious presidential election of 1800 and on into Jefferson’s first term as president, the portrait most often copied was one by Rembrandt Peale, painted in Philadelphia during the early months of 1800. The validity of the likeness can be judged from the number of prints that were quickly made and circulated. Rembrandt (as he billed himself) has Jefferson gazing very steadily at the viewer in his fashionable black coat and waistcoat with hair dressed and powdered. There is a steadiness in the demeanor that contradicted the Federalists’ accusations in the press casting him as a weak, whimsical intellectual, not fit for the role as chief executive of the nation. Yet this was the image that Federalists copied when they needed to vilify Jefferson in political caricatures, such as “A Philosophic Cock” discussed in the webinar. Though distorted, the face is recognizable as based upon Rembrandt’s portrait. The popularity of this portrait was challenged by the Gilbert Stuart of 1805 commissioned by James Bowdoin for his diplomatic assignment to Madrid and discussed during the webinar. Stuart’s reputation as the leading American portrait artist could have bolstered interest, but certainly he produced a handsome portrait that portrays President Jefferson in a pose and setting worthy of an official state portrait. A very fine engraving of the Stuart portrait, made in 1807 by Robert Field, allowed Jefferson’s presidential image to circulate broadly.

 

Question: Is he making a specific statement about American simplicity with the old-fashioned coat? He also chose to wear laces and not buckles, which is another deliberate fashion choice. (Janine Boldt) 

GW:  The cut of the coat and waistcoat rendered by Thomas Sully for the West Point commission follows the style fashionable early in Jefferson’s presidency The center front of the coat slopes in a long line from the upper chest toward the side seams and the waistcoat rests slightly below waist and opens in a deep ‘V’. In contrast, the fashionable man’s coat in 1821 was moving toward an almost horizontal cut, arching slightly above the natural waist. This cut was the forerunner of today’s tail coat. I suggest in my book that the suit we see in Sully’s portrait, with knee breeches rather than pantaloons, was chosen not so much as a statement of simplicity but rather for its link to 1802 when Jefferson signed the congressional bill establishing the U.S. Military Academy at West Point. 
I am very glad you point out the shoes---or bootees as Jefferson called them---as I was not able to go into these during the webinar, and they definitely had a political significance. This style in footwear became popular during the French Revolution (but not unique to France) and made its political and egalitarian statement by replacing the elegant buckles with plebeian laces. During the election of 1800, the pro-Republican press touted Jefferson’s preference for American made clothing, including the “Jefferson shoe.” This likely alluded to the lace-up bootee, as it began to appear in political caricatures aimed at Jefferson [see “Providential Detection,” c. 1799] and this theme was taken up by the Federalists press early in Jefferson’s presidency. One Federalist commented that “our philosophic president. . .prefers shoestrings, when other folks wear buckles,” and another claimed that Jefferson was making the statement that buckles were “superfluous and anti-republican especially when he has strings.”


Question:  Did Sully paint any portraits of Jefferson’s family or the women in his life? (Karen A. Chase)

GW: Sully painted Jefferson’s daughter Martha Jefferson Randolph in May 1836 when she was age sixty-three. Family accounts say that she asked Sully to be kind and the portrait is definitely soft in the rendering of her features. She was accompanied to Sully’s studio by her daughter Virginia Randolph Trist, who credited the artist with “powers of entertainment” that caused Martha to become more animated and her eyes to sparkle. Virginia’s husband, Nicholas Trist was in hopes that Sully could be convinced to take her portrait as soon as he completed Martha’s, however it was not possible due to Sully’s extremely full schedule. Thus, the only Sully portraits of the family were those of father and daughter, Thomas Jefferson and his eldest daughter Martha. Monticello currently holds the portrait of Martha and a later Sully copy of the Jefferson bust portrait. 

 

Question:  Did Jefferson ever express an opinion about the Sully portrait? Also, was Jefferson ever painted together with John Adams or Franklin or Madison…any of his contemporaries? (Kevin Stirling) 

GW:  Jefferson did not comment on the portrait, but his granddaughter, Ellen did. She felt Sully had “succeeded admirably.” She found the upper portion of the face near perfect in likeness and felt that Sully had captured Jefferson’s dignity and expression of benevolence. Her only dissatisfaction was with the area around the mouth and chin, but she felt Sully would be able to correct that in the full-length. She was not explicit as to what troubled her, and I have studied both these portraits carefully trying to determine the change she felt was needed. It does appear that a crease from the corner of Jefferson’s mouth that was pronounced in the original bust portrait is not quite so defined in the final West Point full-length. I have wondered if that slight modification would have please Ellen. 
    The only painting in which Jefferson, Adams and Franklin appear on the same canvas is John Trumbull’s, The Declaration of Independence, July 4th 1776. As I believe I mentioned, when Jefferson commissioned the portrait of himself from Mather Brown, he commissioned one of John Adams as well. When James Bowdoin requested portraits by Gilbert Stuart for his diplomatic duty in Spain, he commissioned one of President Jefferson and one of Secretary of State Madison. In both instances, these portraits were of the same sizes and companion portraits but not on the same canvas.

 

Questions: Did Jefferson choose to be shown with a column from the H or R? He didn’t visit, but did he know of the column’s design? (Anonymous Attendee)
                   Were all these details carefully thought out by Jefferson OR is it only now that we are interpreting the meaning? (Anonymous Attendee)

GW:  It is impossible to say how much Jefferson may have known of the design for the rebuilding of the House of Representatives. Certainly he discussed architecture with Thomas Sully during his visit to Monticello, as Jefferson requested that Sully visit the construction site for the University of Virginia in Charlottesville, where examples of his own architectural designs were going up. He wanted Sully to be prepared to report on his observations. And it is possible that Sully had visited the new House of Representatives, perhaps on his way to Monticello, and could have reported on that to Jefferson as well. But who suggested that the new House chamber serve as the backdrop for Jefferson’s portrait? Ultimately, the decision had to rest with Sully, as the final study and the full-length portrait were not completed until he returned to his studio in Philadelphia. Yet conversations with Jefferson could have influenced his decision. Jefferson always felt strongly that the House of Representatives served as the clearest voice of the people, and even though he did not serve there, a visual association could have been a welcome addition to his legacy. Whether the setting was a direct suggestion from Jefferson or an idea formulated by Sully on his own, visually it gives strength to the composition and adds another level of association for the viewer. 

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Q&A: “Assembling the Dinosaur: Fossil Hunters, Tycoons, and the Making of a Spectacle -- A Virtual Discussion with Lukas Rieppel”

Select answers from Lukas Rieppel (LR), author of Assembling the Dinosaur: Fossil Hunters, Tycoons and the Making of a Spectacle

Question: On the list of founders for the American Museum of Natural History was a Benjamin H. Field. Was he affiliated with Chicago's Field Museum? (Mary Anne Eves)

LR: Benjamin Field was a prominent merchant and philanthropist in late-19th century New York. The Field Museum of Natural History in Chicago was named after the department store magnate, Marshall Field, who donated one million dollars towards the museum's founding.

 

Question: Hi Lukas! I’d love to hear you talk more about how questions of gender play out in this narrative—is the history of dinosaurs in the Golden Age an inherently “masculine” story? If so, why? How is this related to the current American phenomenon of paleontology as an attractive science to boys but not necessarily to girls? (It’s easy to see how this plays out when you’re walking through the dinosaur halls amidst school groups at the AMNH.) (Elaine Ayers)

LR: You are right: gender is a big part of the story! This is true on a couple of different levels. For one, the practice of paleontology was itself very gendered. As a scientific endeavor, it depended heavily on outdoor activities, such as field work, that functioned as a performance of what were traditionally seen as masculine qualities like strength, courage, resilience, and virility. Of course, that does not mean there were no women who made contributions to paleontology, as the example of Mary Anning and others help demonstrate. Women played an important role in camp life as well. (See my response to Jessica Linker below.) Still, the overwhelming majority of paleontologists were male, and they understood their scientific activities to be a distinctly masculine pursuit. That is now starting to change, but not fast enough! Second, dinosaurs themselves were often gendered male, even though it is exceedingly difficult (often impossible) to determine the sexual dimorphism of these creatures based on the scant fossil evidence they leave behind. This is part of the story about how and why dinosaurs were so consistently depicted as intensely competitive creatures. That, too, has changed dramatically in recent years, largely as a result of the emerging consensus that dinosaurs were the extinct ancestors of modern birds.

 

Question: In this period, how did they think about extinction and more specifically, what were the common explanations for the dinosaurs’ demise? (Patrick Spero)

LR: This is a huge, important, and fascinating question! The late 19th and early 20th century was a period in which many biologists engaged in a heated debate about the theory of evolution and the fact of extinction. In fact, vertebrate paleontologists from the United States such as Edward Drinker Cope and his protégé, Henry Fairfield Osborn, were at the forefront of these debates. Drawing on the evolutionary ideas of a French naturalist named Jean Baptiste de Lamarck, most paleontologists at this time rejected the centrality of natural selection acting on random variation in the evolutionary process. Instead, paleontologists such as Cope analogized the evolution of entire species to the development of individual organisms. This is before the discovery of DNA, and it was widely believed that individual organisms are compelled by some internal drive or mysterious substance to grow more complex and functionally integrated over their lifetime. Judging from the fossil record, the same thing appeared to be true of entire lineages as well. So just as individual metazoan organisms develop from a single fertilized egg into a complex multicellular adult made up of many diverse tissue types that are seamlessly integrated into a functioning whole, so too did humans evolve out of single-celled ancestors into our complex, multicellular selves. But the process of individual development does not stop at adulthood. Rather, it ends with senescence and, eventually, death. According to paleontologists such as Cope, extinction was just the death of a whole species, the natural end of its evolutionary life cycle. Moreover, in much the same way that individual humans often become less adaptive and flexible as we enter old age, it was believed that entire species suffer the same fate, which made it impossible for them to keep up as environmental conditions and ecological relationships changed over geological time. Interestingly, dinosaurs were a favorite example of such an evolutionary dead end, a lineage that had outlived its usefulness and was destined to die a natural death, thereby opening up the ecological space for younger, nimbler, and more adaptable mammals to evolve.

 

Question: Thank you, Lukas, for this very interesting and important presentation and work. I really appreciated your attention to the typically less appreciated “independent fossil hunters” whose labor made possible the excavation and movement of the bones to spaces of exhibition in the United States. I am wondering if you could speak to colonial or imperial context of this story? Did, for example, these white fossil hunters, philanthropists, or naturalists from the U.S. depend on Indigenous knowledge or technology to locate and extract these bones, or to access the land in which they were embedded? Did they encounter resistance by Indigenous nations to their removal? Thank you so much for any and all insight on this! (Gustave Lester)

LR: Another excellent question. The short answer is "yes"! Dinosaur paleontology was deeply tied up with the history of American imperialism. You mention one of these entanglements in your question. It is often said that dinosaurs were discovered in the American West during the late 19th century, as white settlers colonized this region, largely in search of mineral wealth. But people lived in these parts of the North American interior long before the United States had come into being, and there is ample evidence that Indigenous tribes such as the Lakota took a strong interest in the fossil bones of strange-looking creatures that littered this region. If you are interested in this history, I would recommend the work of Adrianne Mayor, who has traced the way that vertebrate fossils helped to inform and inspire a range of Native American origin stories, much as they have also informed scientific accounts of the history of life on earth. As a result, American paleontologists such as Edward Drinker Cope and Otheniel Charles Marsh often relied on Native American guides and informants like the famous Lakota Chief Red Cloud to provide information about the location of these wonderful and mysterious objects. You are also right about resistance from Indigenous tribes, who often (correctly, as it turns out) suspected that white explorers who claimed only to be interested in esoteric knowledge were also tasked with helping to develop the extractive economy taking shape in the American West at the time, which directly contributed to the dispossession of Native American tribes. An argument can therefore be made that, in addition to being dispossessed of their ancestral homelands and traditional hunting grounds, Native American tribes like the Lakota were also robbed of their pre-history, as origin stories that sought to explain the abundant fossils one could find in places such as the Black Hills were refigured as scientific accounts of how life evolved over time. I'll stop there, because this response is getting too long already. But I want to note, quickly, that vertebrate paleontology was implicated in other expressions of American imperialism as well. For example, prominent paleontologists such as Barnum Brown frequently consulted for petroleum companies, often conducting clandestine intelligence-gathering expeditions on their behalf in places like Cuba, Ethiopia, and Mongolia under the guise of merely looking for dinosaur bones.

 

Question: This really isn't a question, but there are plenty of women engaged with science in the nineteenth century -- but consider the source. Re: interest in dinosaurs, Graceanna Lewis has a longstanding interest in tracing the evolution of dinosaurs from birds and was lecturing about this in the latter half of the nineteenth century! (Jessica Linker)

LR: Yes, absolutely! While the practice of paleontology was traditionally understood as a masculine pursuit, that does not mean women did not make significant and foundational contributions to our knowledge about the deep past. Thank you for mentioning Graceanna Lewis -- I'd love to learn more about her! It sounds like you are working on this history, and I can't wait to read your contributions to this important conversation. And of course, there are many other examples as well. I mentioned the most famous one, Mary Anning, above. Let me add another example: Marion Brown. She was the first wife of Barnum Brown, who is perhaps the most famous dinosaur hunter of all time. There is a fascinating correspondence between her and her husband that deserves more attention. Barnum Brown also had an interesting dispute with his boss at the American Museum, Henry Fairfield Osborn, who insisted that women had no place in the field. Marion loved the outdoors and was passionate about fossil hunting, and there is good evidence that she made a lot of contributions to paleontology which have gone almost entirely uncredited. Barnum Brown's second wife, Lilian, is a fascinating case also. She wrote many popular books about her adventures all over the world. Finally, let me plug the work of Jenna Tonn here, who has done fascinating research about family dynamics in natural history. I think Marion and Lilian Brown's cases, among many others, are a perfect example of all the invisible labor that is required but often goes unacknowledged in natural history.

 

Question: Hi all! Thanks so much for the great talk :) My question is how the 19th century conversation around paleontology differs or is similar to the 18th century trans-Atlantic conversations that French naturalists (like Buffon) were having with Americans (like Thomas Jefferson). Do we have any correspondences that link paleontology and nation-building in the U.S.? (Ariana Potichnyj)

LR: Again, the short answer is yes! In my remarks during the online conversation, I mentioned the example of Diplodocus carnegii. I have an entire chapter in my book that uses Andrew Carnegie to make more or less exactly this point. There is also a whole book about the Carnegie dinosaur, American Dinosaur Abroad by Iljia Nieuwland, which you might be interested in checking out. But of course you are right that there were differences too. The most important one, I would say, is that dinosaurs were believed to have gone extinct at the end of the Cretaceous period. Their extinction allowed more intelligent mammals, such as the Mastodon, to evolve. So the relationship between the U.S. and dinosaurs was more complex and ambivalent than in the case of the Mastodon in some ways. While dinosaurs were celebrated as an expression of American exceptionalism, an object lesson in the awesome power and fecundity of the United States, dinosaurs also served as a cautionary tale, illustrating the theory of "racial senescence" that I described in my response to Patrick Spero above.

 

Question: How were schoolchildren taught about dinosaurs in the late 19th century and do you see connections between capitalism and paleontology exhibited in these educational materials? (Lauren Killingsworth)

LR: During the 19th century, museums were understood as educational institutions. (The phrase that was often used at the time was "rational recreation.") This frequently brought them into contact with schools. The American Museum of Natural History, for example, secured funding from the New York municipal government by partnering with the public school system. This museum hosted evening lectures for NY schoolteachers, invited classes into its exhibition halls, and created a number of "traveling exhibits" that toured all five boroughs to visit individual public schools. And dinosaurs certainly featured in all of these outreach programs, because they were so immensely popular. However, in my research, I was surprised to discover that dinosaurs were not especially connected to children at this time. The strong association between a fascination with dinosaurs and childhood only seems to have truly emerged after the Second World War. I have some ideas about why that might be, having to do with the way dinosaurs were taken up by mass media companies like Disney, but I'm still not satisfied that I fully understand how this transition took place. I'm hoping a post-war historian might be enticed to take up the question and provide a more solid answer!

 

Question: Thank you so much for this interesting program! I was aware that wealthy capitalists and industrialists like J.P. Morgan and Andrew Carnegie funded many of the early discoveries of dinosaurs and purchased fossils for donations to local museums.  Are some members of today's wealthy elite doing the same thing? (Daniel Bornstein)

LR: Very much so. To cite just a single example, the recently renovated dinosaur exhibit at the Smithsonian Museum in Washington DC is called the "David H. Koch Hall of Fossils -- Deep Time." There's a lot to be said about that, especially since the late David Koch and his brother Charles also donated huge sums of money to sow doubt and promote skepticism about anthropogenic climate change. You might be interested in a short op-ed that I wrote on this topic a few months ago.

 

Question: My impression of the early historical interpretation of dinosaurs is that they were very influenced by contemporary understandings of reptiles--this was of course long before we understood (some) dinosaurs as possibly warm-blooded, sometimes feathered proto-birds. The contrast between portrayals of dinosaurs and extinct mammals as, on the one hand, solitary and predatory and, on the other hand, social and cooperative seems influenced by what was known about modern animals as much as by capitalism, social Darwinism, and the like. How do you balance this "simple" natural history account with more sociological/cultural explanations? (Jesse Hochstadt)

LR: Another excellent question. And a hard one at that! As I read it, this question goes beyond the particular case of dinosaurs. It's really a question about the relationship between science and its larger social, cultural, and economic context. You are completely correct to point out that dinosaurs are reptiles. The modern understanding is that dinosaurs are part of a lineage called "archosaurs," and their closest living relatives are crocodiles. Birds are nested within the dinosaur family tree, meaning that dinosaurs did not go extinct. If anything, they are thriving! But during the late 19th and early 20th century, the evolutionary history of birds was a big mystery, and their relationship to dinosaurs was very controversial. This is true despite the fact that "Darwin's bulldog," Thomas Henry Huxley, had theorized that dinosaurs might constitute a missing link between reptiles and birds as early as 1868. So it's true that dinosaurs were usually analogized to reptiles rather than birds at the time, and it's completely fair to point out that many reptiles are solitary predators. Still, the question remains: why model the functional anatomy and behavioral ecology of dinosaurs on something like the monitor lizard rather than another type of organism? For example, Richard Owen thought that dinosaurs inhabited the same ecological niche as modern pachyderms do, and hence the Crystal Palace dinosaurs sculpted by Benjamin Waterhouse Hawkins have a very mammalian body plan. Later paleontologists like Joseph Leidy modeled American dinosaurs like Hadrosaurus on the kangaroo, because of its relatively diminutive forelimbs coupled with much bigger hind legs and a powerful tail. Now we tend to imagine dinosaurs as bird-like creatures. Moreover, even early 20th century paleontologists such as Osborn did not model their dinosaurs on reptiles in every respect. The functional anatomy of long-necked and plant-eating sauropod dinosaurs such as the Brontosaurus or Diplodocus, for example, featured strong columnar legs that extend straight out under the animal's body. A number of German paleontologists objected to this pose because it was insufficiently reptilian, preferring to mount their dinosaurs with the legs splayed out to the side and bent in a 90 degree angle, dragging their bellies on the ground like many lizards now do. Anyway, that's all to say that we've got something of a chicken or the egg problem here. Were dinosaurs understood as solitary brutes because they were modeled on reptiles, or were they modeled on reptiles because they were understood as ferocious tyrants of the prehistoric? I personally prefer to evade the issue altogether by saying that both went hand in hand. For me, it's less important to specify which way the causal arrow goes. Instead, I try to assemble a kind of picture of gestalt of what might be described as the scientific culture that prevailed at the time, one that tries to integrate technical knowledge with social and economic factors, suggesting that all of these mutually reinforced one another.

 

Question: Do zoos serve the same purpose? (Bill Mancuso)

LR: Yes, zoos have a very similar history, and many of the same people who created these natural history museums also served on the board of trustees of zoos. There are some great books if you are interested in this topic. A good place to start would be Elizabeth Hanson's book, Animal Attractions: Nature on Display in American Zoos, as well as Nigel Rothfels' book, Savages and Beasts: The Birth of the Modern Zoo. But there are many more, including ones that touch on zoos in other time periods and different parts of the world.

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"Evidence: The Use and Misuse of Data" Papers

June 8-12, 2020

Papers for "Evidence: The Use and Misuse of Data" can be found below.  You will be required to enter a password provided by conference organizers to access them. Please contact Adrianna Link at [email protected] if you are attending the conference but have not yet received the password.

Papers are not to be cited or circulated without the written permission of the author

All events will be held via Zoom (times listed in EDT)


Monday, June 8

1:00 p.m.: Opening Keynote 

The Weighing of Evidence Requires Expert Judgment and Consensus
Richard Shiffrin, Indiana University, Bloomington 
Stephen Stigler, University of Chicago
Kathleen Hall Jamieson, The University of Pennsylvania

3:00 p.m.: Panel 1: Evidential Standards

"Archival Profusion, Archival Silence, and Analytic Invention: Reinventing Histories of Nineteenth-Century African American Debate"
Angela Ray, Northwestern University 

"President Andrew Jackson: Fake Quotations, False Facts, and the Debasement of History
Daniel Feller, University of Tennessee, Knoxville 

"Bunk History and the Standards of Historical Interpretation"
Andrew Schocket, Bowling Green State University


Tuesday, June 9

1:00 p.m.: Panel 2: How do We Know: Reading Evidence in the 18th Century

"What did eighteenth-century readers know, and when did they know it?"
Gordon Fraser, University of Manchester 

"The Morbid Lives and the Afterlives of the Elizabeth (1737) Reproduction, Data, and Enslaved People's Lives in History of the Intra-American Slave Trade"
Elise Mitchell, New York University 

Peculiar Blue Spots: Evidence and Causes around 1800
Jutta Schickore, Indiana University, Bloomington 


Thursday, June 11

1:00 p.m.: Panel 3: Making Data: The Good, the Bad, and the Ugly

Bad Data: Settlers Measuring Dust, 1930-1940” 
Sara Grossman, Bryn Mawr College 

In Search of Data Cleaning: Making Demographic Regularities Between Theory and Observation
Alexander Kindel, Princeton University 

Narrative Data and the Psychiatric Method
Lindsey Grubbs, The Johns Hopkins University, Berman Institute for Bioethics


3:00 p.m.: Panel 4: Envisioning Evidence

"How Not to Analyze Data: John W. Tukey Against the Mechanization of Statistical Inference"
Alexander Campolo, The University of Chicago 

‘Aren’t we kind of splitting hairs?’: Reframing the Pascua Yaqui Tribe and the Anthropology of Edward Spicer in the United States Congress
Nicholas Barron, Mission College 

How the Universe Went Missing in 1974
Jaco de Swart, University of Amsterdam


Friday, June 12

1:00 p.m.: Panel 5: Data in the Digital Age

"The Use and Misuse of Anthropological Evidence: Digital Himalaya as Ethnographic Knowledge (Re)Production"
Mark Turin, The University of British Columbia 

When Voices Become Data: Reading Data Documenting Contemporary Reading
Jennifer Burek Pierce, The University of Iowa

Historical Evidence in the Age of Artificial Intelligence
Joshua Sternfeld, Unaffiliated Independent Scholar 

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Letters and Social Distance

Imagine a world where there are vast physical distances between you and a friend, family member, or colleague. This might sound all too familiar to a reader in 2020, but this was also very familiar for most prior to modern transportation. To compensate for distance and instead of texts, Zoom, or emails, letters were commonly used to communicate with those far away. Though the technology of communication has changed drastically, has much else changed? 

In centuries past, letters were the main form of communication over long distances. Their envelopes or folds and contents communicated implied and direct messages through the materials used and the written word. Today, we have text messages and other forms of digital communication. How are these methods and choices of media similar, how are they different? If you look beyond handwriting and some basic mechanics, the similarities might be surprising. During COVID-19, as we practice social distancing, the moment provides us with a set of constraints similar to those of earlier centuries. We seek ways to connect while spending time in physically different spaces. The written word provides comfort and conveys vital information. Even the way messages are sent continues to give information about power structures, hierarchies, relationships, and historical context. 

As it was then and is now, few things compete with that feeling of opening a letter. We all know it. That feeling of opening a card or a letter you’ve received in the mail. The little teasers of information on the envelope - who sent it, the stamp they chose to use - give you a sense of what to expect. The time of year you’ve received the card might also give additional hints of the contents. The quality of the paper, a wax seal, and the physical condition of the letter also carry meaning. Now, there are almost too many ways in which we receive written messages. Mail, social media, text, email, and probably others all convey their own meaning. Think about the difference between your initial thoughts on receiving a text from a friend compared to receiving an email from a friend.

 

Though not from the 18th century, this envelope from the William Parker Foulke Papers (1840-1865) evokes that feeling of receiving a letter
Though not from the 18th century, this envelope from the William Parker Foulke Papers (1840-1865) evokes that feeling of receiving a letter

 

The contexts in which the sender composed the message and in which the recipient reads the message carry emotionally-based, time-based, and socially-based meanings. In the 18th century, the lucky writer might have found a book full of templates for situations running between needing money while at sea to checking in on a sibling. Today, we still have a variety of contexts and templates. Between writing cover letters for a job to saying “happy birthday” on Facebook, modern communicators find themselves in different yet similar situations to those in earlier centuries. You can now see edits on posts to certain social media platforms; somewhat like seeing strikethroughs in the 18th century letters. Though we’ve been gifted (or occasionally cursed) with autocorrect, is the context for edits any different? These contexts also usually give hints about how to send the message and how to respond. 

Luckily, responses could also come from the same book of templates and modern society has also set-up some standard responses based on the context. If you’ve sent a generic response to a job application, is that very different from copying a template that tells you how to respond to someone asking a favor in the 18th century? Responses to written communication are usually tied to the context. Those receiving a response usually already have your response in mind. It’s often important to match that expectation. Responses always demonstrate, very clearly, that written communication involves more than one person -- it is a social act. 

Now that you are thinking way too much about written communication, check out the activities. Think about family or friends who might not be nearby. This moment is a great one for sending letters or communicating with those we care about!

Header image: Post Office - Post Office, 1788 January 1 - https://diglib.amphilsoc.org/islandora/object/post-office-1788-january-1#page/1/mode/1up

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Post office listing and mail delivery times, 18th century
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The Art of Letter Writing

During the 18th century, letter writing was the only way to communicate long distance. Therefore, learning how to properly write a letter was a part of any young man or woman’s education. 

Letters were incredibly important. They were sent for the same reasons that we send letters, emails, and texts todayto conduct business, share news with friends and family, and share information or ask questions about various topics. Letters could also serve as a means of introduction to someone whom you’d never met.

However, in the 18th century, letter writing and learning how to write letters was much more formal than it is today. The tone of a letter and what was considered appropriate to write in a letter depended on who you were writing to and why. You would not write the same letter to your mother as you would to a business partner. This is still true today, but we no longer formally learn the etiquette of writing letters the way they did in the 18th century. Eighteenth-century letter writing manuals provided sample letters for a variety of situations. Copying these sample letters allowed a person to practice letter writing and learn appropriate letter-writing manners. 

Ever try to write an email to someone, only to revise it several times and worry over the appropriate tone of voice or the content? Ever worry about how to address a letter or email -- should it be to Dr., Mr., Mrs., Ms., Mx., or Miss? 18th-century folks worried about that, too. In fact, one letter writing manual stated, “Many being at a Loss how to address Persons of Distinctions either in Writing or Discourse, are frequently subject to great Mistakes in the Stile and Title due to Superiors.” It then included a very detailed list of how to address a letter, whether you were addressing the King (“To the King’s Most Excellent Majesty, ‘Sire, or May it please your Majesty.’”) or a merchant (“To Mr. A.B. or Esq; Merchant, in Tower-Street, London, ‘Sir’”). 

Be careful though—in the 18th century, if you wrote a letter to a well-known person with a detailed address, they might be offended. Mail carriers should well know how to find “Benjamin Franklin, Philadelphia” without his specific address! After all, “In directing your Letters to Persons who are well known, it is best not to be too particular, because it is lessening the Person you direct to, by supposing him obscure, and not easily found.” These days, we are expected to use specific addresses when sending a letter, but that was not standard practice in the 18th century before standard street numbers and zip codes. Luckily we no longer have to worry about that particular faux pas. 

Benjamin Franklin, an expert letter writer, owned a manual titled The Art of Letter-Writing. A scroll through the contents will give you a sense of the variety of sample letters and topics. Franklin also published an American edition of George Fisher’s The American Instructor, or Young Man’s Best Companion. This book for children included letter writing as an important task a young gentleman had to learn, coming just after learning the alphabet and how to make a pen. It included pages of the alphabet in different scripts for students to practice by copying or tracing—just like students do in schools today. However, while students today often only learn print and cursive (which is increasingly falling out of favor), Franklin's students were encouraged to learn five types of handwriting, and each was used for a different purpose.

Try out the activities to learn more about 18th-century letter writing!

Header image credit: 
Portrait of Benjamin Franklin by Mason Chamberlin (1762), Philadelphia Museum of Art.

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Portrait of Benjamin Franklin
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