History Commons^™

Wondrous Cetaceans, Logan D. S. Henley

Wonders of Nature and Artifice

The Renaissance was named for the cultural rebirth it witnessed. It meant a decrease in the widespread artistic and scientific suppression of the Middle Ages. As a result, Europeans enjoyed a new exploratory enthusiasm, which brought them to the far corners of the world. The concept of exoticism was renewed by European contact with places like China and Brazil. But as well as new cultural connections being bolstered, immense scientific discovery was going on. Science, then named natural philosophy, was seeing breakthrough after breakthrough. Scientists and interested persons brought knowledge and specimens from far and wide together in curiosity cabinets, …

Rhinoceros Horn Libation Cup, Erin C. Harten

Wonders of Nature and Artifice

On display in the “Wonders of Nature and Artifice” exhibit at Gettysburg College is an exquisitely carved Chinese rhinoceros horn cup decorated with many images of animals, from dragons to tortoises.The rhinoceros horn has been noted by the Chinese as early as the T’ang dynasty (618-907) to have magical properties, and it was believed that when a poisonous liquid was poured into a rhino horn, the horn would change colors to alert to the presence of poison.Due to these magical properties, rhinoceros horns have been regarded as especially valuable. [excerpt]

Skeletons In The Closet, Kevin M. Isky

Wonders of Nature and Artifice

Among the collections cabinets of the Renaissance, fish, in the forms of naturalia and artificialia, can be widely found. They were sought after for their beauty as well as their relation to the natural world. In the famous frontispiece to Ferrante Imperato’s Dell’historia naturale (1599), fish of varying kinds are hung against and atop the ceiling on either side of a large alligator. They are mixed between an assortment of crustaceans and shells, also sea creatures, including the prized nautilus shell found so abundantly in Renaissance culture. As seen in this frontispiece, fish could be found as decoration in …

Guardians Of Ink And Vellum: Ethiopian Magical Scrolls, Zachary A. Wesley

Wonders of Nature and Artifice

Ethiopian magical scrolls are powerful tools to combat sickness and demons in Ethiopian folk belief. As works of art, they display influences from Muslim, Jewish, and Christian sources. The scroll showcased in the “Wonders of Nature and Artifice” Exhibition was graciously donated by Mike Hobor, Gettysburg College Class of 1969. A prolific traveler, Mike purchased this piece in an art shop in Rome along with two other scrolls. 1 The scroll is believed to come from the city of Gondar, and is believed to date to the eighteenth-century. [excerpt]

Ortelius's Map Of The World And Homann's Ship Model Map, Jane C, Fitzpatrick

Wonders of Nature and Artifice

Abraham Ortelius and Johann Baptist Homann were very successful cartographers who benefitted from the rising trend in curiosity cabinets during the Renaissance. Ortelius lived from 1527-1598 and was born in Antwerp, Belgium, and Homann became famous in Nuremberg, Germany during his life from 1663-1724. [excerpt]

Aurora: A Painting Of The Coming Dawn, Noa Leibson

Wonders of Nature and Artifice

While collectors and scientists sought out the rarest and best preserved naturalia for their collections, others sought out and commissioned paintings and other forms of artifice to go beside them. One artist held in high regard during the era of curiosity cabinets was Guido Reni, artist of the famed ‘Aurora,’ a copy of which remains in the gallery today. Paintings like this one would have hung regally on the walls of curiosity cabinets, the beauty showing the potential of man, and the themes of nature and classics fitting right in with other pieces surrounding them. [excerpt]

19th Century Writings On The Grand Tour, Emily E. Wilcox

Wonders of Nature and Artifice

Two collections of writings, found in the glass cabinet on the left wall of our Wonder Cabinet, contain the descriptions of two travelers’ times abroad during the Grand Tour. The first item is a travel journal written by Henry Louis Baugher, son of Pennsylvania (now Gettysburg) College’s second president, Henry Lewis Baugher. The journal was generously donated to Gettysburg College’s Special Collections and College Archives by Gary Hawbaker, class of 1966. Beneath the travel journal you’ll find a collection of letters written by Louisa Augusta Webb about the tales of her and her sisters’ travels. This compilation of letters is …

Crocodiles - The Singular Beast In The Renaissance Cabinet, Peter Zhang

Wonders of Nature and Artifice

Stuffed crocodiles often predominated many famous cabinets, hanging in the center of the ceiling. Crocodilians are the largest reptiles and the largest predator that spends time on land. They have existed for about 240 million years, and today there are 23 species of crocodilians in total, categorized in three families: 13 species of crocodiles, two species of alligators, and six species of caimans. Archaeologists found a “Supercroc” fossil as long as 40 feet (12 meters) and weighting 17,500 pounds in Niger. They believe that the crocodile lived alongside dinosaurs about 100 million years ago. [excerpt]

Wonders Of Nature And Artifice, Schmucker Art Gallery

Schmucker Art Catalogs

A stuffed blowfish, a meticulously-drawn insect, a ravishing lily, and a rhinoceros horn carved with scenes of plants and animals—these were among the wonders of nature and artifice, the marvels that fueled the Renaissance quest for knowledge. This exhibition explores the intellectual and aesthetic motivations of Renaissance naturalists and collectors, whose wonders of nature and artifice were displayed in elaborate gardens, illustrated books, and remarkable cabinets of curiosities. Collectors were driven by curiosity and a sense of wonder about what seemed to be an ever-expanding world. Students from Prof. Felicia Else’s upper-level art history course and Kay Etheridge’s First Year …

Captive Body, Free Mind: Euphrosinia Kersnovskaia, The Gulag, And Art Under Oppression, Laura G. Waters

Student Publications

This paper examines the art of Euphrosinia Kersnovskaia (1907-1994) as it relates to both the larger experience and narrative of the Soviet Gulag and to the survival of the artist. Larger trends of art made under oppression are used to find reason for such seemingly insignificant acts, and art therapy frameworks provide analytical bases for approach. By looking at such deeply subjective forms of memory and its transcription, individuality and humanity is returned to an inhuman penal system.

Friends Of Musselman Library Newsletter Spring 2017, Musselman Library

Friends of Musselman Library Newsletter

From the Dean (Robin Wagner)

Library News

• "You do not have a minute to lose!"
• New Homes for Old Books
• Wikipedia Edit-a-thon (Melanie Fernandes '16)
• Share a Table (Sarah Nelson '17)
• A Note of Sadness (Jay P. Brown '51)
• Not Lost in Translation

Half a Million Downloads from The Cupola! (Janelle Wertzberger)

Revisit The Mercury

Mercury Stories of Note (Jerry Spinelli '63)

More Early College Publications Online

The Spectrum of Art

First German Print of the Declaration of Independence (Daniel DeNicola)

Hidden Beneath: Watermarks in the Early American Document Collection (Tyler Black '17)

Archaeological Students Dig Special Collections

Research Reflections …

Paintings Of War, Museums Of Memory, Laura G. Waters

Student Publications

This paper examines the artists sent to the Western Front under Britain’s official war artists initiative. The government sought to utilize artwork for propagandistic purposes, and to foster emotional connection between civilian and soldier. However, the growth of the initiative to include some ninety artists complicated this. The experiences of the artists and the truths revealed to them by the conflict were vastly different, and examination of them as a whole does little to elucidate the character of the war itself. What this paper seeks to do, therefore, is examine three artists - Sir William Orpen, Lieutenant Paul Nash, and …

Visual Culture Project: Confederate War Etchings: Searching For Arms By Adalbert Johann Volck, Lynn B. Hatcher

Student Publications

Adalbert Johann Volck’s 1861 sketch of Union soldiers, “Searching for Arms,” represents a substantial contribution to the narrative about gender relations during the American Civil War. This simple, small sketch offers the observer a window into the past. It is a collision of symbols and meaning—from gender to war to the household—all wrapped up in one image. This is a portrait sketch of a woman being invaded in her domestic, private sphere, revealing so much about gender relations during the time. The mistress herself seemed to embody a vast range of sentiments such as anger, fear, frailty, and strength, proving …

Visual Culture Analysis Of "The Last Ditch Of The Chivalry, Or A President In Petticoats", Sarah A. Hansen

Student Publications

This lithograph is a Northern depiction of the capture of former Confederate President Jefferson Davis. Titled "The Last Ditch of the Chivalry, or a President in Petticoats", and picturing Davis in a woman’s dress and bonnet, the Northern press painted Davis as a coward. Rather than being a man and standing up to the Union troops, Davis disguised himself as a woman and attempted to cowardly escape. Although in actuality Davis was wearing a rain jacket and shawl rather than a full dress and bonnet, the Northern press mocked him. This piece demonstrates the prominence of male Southern honor, and …

Bodies In Conflict: From Gettysburg To Iraq, Laura E. Bergin

Schmucker Art Catalogs

The exhibition Bodies in Conflict: From Gettysburg to Iraq not only conveys an ambitious geographic and historical range, but also reflects the sensitivity, ambition, and thoughtfulness of its curator, Laura Bergin ’17. In examining how the human figure is represented in prints and photographs of modern war and political conflict, Laura considers how journalistic photographs, artistic interpretations, and other visual documentation of conflict and its aftermath compare between wars and across historical periods. Specific objects include a print and photographs from the Civil War, propaganda posters from World Wars I and II, photographs and a protest poster from the Vietnam …

Niki De Saint Phalle: The Female Figure And Her Ambiguous Place In Art History, Lucy Kay Riley

Student Publications

Niki de Saint Phalle had a fearless approach in her representation of women and her invitation of audience interaction. Born in 1930, she lived through the years of very male dominated areas of art: Abstract Expressionism, Pop Art, and Neo-Dada. Niki de Saint Phalle provided a unique treatment of the female figure through drawing, painting, writing, found object sculpture, large public sculpture, and installation. One of the pieces I will primarily focus on embodies her fascination with audience interaction and the portrayal of the female figure: her controversial and temporary installation of 1966, ‘SHE – a cathedral.' In comparison to …

"Pray For The People Who Feed You": Voices Of Pauper Children In The Industrial Age, Rebecca S. Duffy, Jill Ogline Titus

Schmucker Art Catalogs

Following the Industrial Revolution in the late nineteenth and early twentieth centuries, countries such as the United States and England experienced a widening gap between the rich industrialists and the impoverished working class. As a result, poverty quickly shifted from a localized problem to a national epidemic. Each country was faced with the challenges of addressing and alleviating poverty on a national scale. With a limited amount of resources, questions arose about who should receive relief. What should it look like? How should it be administered? And how would poverty and policy affect political, economic, social and familial structures? [ …

Beyond Rodin: Revisiting The Legacy Of Camille Claudel, Shannon R. Callahan

Student Publications

French sculptress Camille Claudel has gained recognition in the past 30 years due to a focus on her tragic life rather than her artistic talent. Despite critical acclaim and respect amongst her peers during the late 19th and early 20th centuries, her affair with Auguste Rodin and her struggles with mental illness have cast a dark, dramatic shadow over modern interpretations of Claudel’s oeuvre. Considering how difficult it was for a woman to be working as an artist at this time, Claudel’s sculptures should not be outweighed by her personal life. In order to challenge the reader not to accept …

Art, Artifact, Archive: African American Experiences In The Nineteenth Century, Shannon Egan, Lauren H. Roedner, Diane Brennan, Maura B. Conley, Abigail B. Conner, Nicole A. Conte, Victoria Perez-Zetune, Savannah Rose, Kaylyn L. Sawyer, Caroline M. Wood, Zoe C. Yeoh

Schmucker Art Catalogs

Angelo Scarlato’s extraordinary and vast collection of art and artifacts related to the Civil War, and specifically to the Battle of Gettysburg, the United States Colored Troops, slavery and the African American struggle for emancipation, citizenship and freedom has proved to be an extraordinary resource for Gettysburg College students. The 2012-14 exhibition in Musselman Library’s Special Collections, curated by Lauren Roedner ’13, entitled Slaves, Soldiers, Citizens: African American Artifacts of the Civil War Era and its corresponding catalogue provided a powerful and comprehensive historical narrative of the period.

This fall, students in my course at Gettysburg College “Art and Public …

Did One Veil Give Women A Better Life?, Mary C. Westermann

Student Publications

Unfortunately, a young woman in Renaissance Florence did not have many options for her future. A woman's family usually decided whether she would be able to get married or would have to enter the convent, but sometimes she was able to make this choice. In this paper, I look at the lives of wives and nuns to analyze how their lives differed in responsibilities and freedoms, but also to see how all women had similar restrictions and expectations placed upon them.

Artemisia In The Metro, Emily A. Francisco

Student Publications

The “art poem” is an intriguing form of poetry. In writing about something that is inherently visual, a poet must remold a work of art into new material, drawing upon the work’s elements of form such as color, line, use of light, contrast, and composition to make his or her own reflective statement, beyond simply describing the artwork’s own content. In my poetry I aim to take this model of the “art poem,” and, through extended experimentation with this idea of ekphrasis (writing about art in a poetic context), intend to suggest a more intimate connection between art and language. …

Notation And Memorandum: Special Artists And Their Portrayal Of The American Civil War, Bryan G. Caswell

The Gettysburg Compiler: On the Front Lines of History

As the first war to see the extensive use of photography, the American Civil War was brought home to civilians in hundreds of photographs portraying camp life or the aftermath of battles. Due to the nature of nineteenth century photography as well as safety concerns, however, photographers were not able to capture scenes of actual combat for their viewers. This task fell instead to men known as Special Artists or “Specials,” hired by the illustrated periodicals of the day to travel with the armies and sketch all manner of events associated with the military, including battles as they progressed. [ …

Satirizing Strife: Currier And Ives Political Cartoons, Megan A. Sutter

The Gettysburg Compiler: On the Front Lines of History

Currier and Ives’ prints were a large part of the media during the Civil War era. Not only were Romantic prints sold and hung in people’s parlors, but cartoons were also very popular. It is important to remember that Currier and Ives’ goal was not to produce fine art, but to make a product that was attractive to middle-class consumers. Thus, political and social cartoons became a way to attract customers. They tried to stay away from controversial topics; however, their Darktown series was one of their best-selling series of the day. Today, the Darktown series is rarely displayed and …

A Living Image: Newspaper Sketches In The American Civil War, Bryan G. Caswell

The Gettysburg Compiler: On the Front Lines of History

Photography: the ability to capture a moment in time exactly as it appeared, to then preserve it for posterity, even mass produce it for a wide viewership. A relatively new concept by the beginning of the American Civil War, photography quickly came into its own in the hands of such legends as Matthew Bray and Alexander Gardner as they sought to document the furious storm which had swept over the land. Photographs of the Civil War are prolific, and for many the memory of the conflict is intertwined with black-and-white photographs of unsmiling men and corpses bloating in the sun. …

For Those At Home: The Romantic Nature Of Civil War Lithography, Megan A. Sutter

The Gettysburg Compiler: On the Front Lines of History

Lithography, the art of drawing on stone, was an important part of American Victorian culture during the Civil War. Not only did lithography provide news in pictorial form, but it also was widely displayed in the home. With the economic move from home to factory during the early 19th century, the home became more of a “sanctuary” in which women could decorate and display. [excerpt]

Field And Factory: Chinese Revolutionary Posters, Molly E. Reynolds

Schmucker Art Catalogs

The images on display for Field and Factory, political propaganda used by the Communist Party of China during the 1950s, 60s, and 70s, construct a fictitious world. In perceiving these kinds of illustrations, the audience is asked either to visualize the society in its ideal form or unify in opposition to a national enemy. In the first half of the twentieth century, before the possibilities of the television advertisement were fully realized, posters were one of the most popular forms of propaganda: cheap to produce in mass quantities and simple enough to hang in any public building. The art form’s …

Ms-132: Norman O. Forness Papers, Karen Dupell Drickamer

All Finding Aids

For the most part, the collection represents Forness’ interest in architecture and architectural history as well as teaching Included is his research and writing on John Dempwolf, (a German architect from York, Pennsylvania who designed Glatfelter Hall, Brua Hall, and McKnight Hall) as well as other Pennsylvania architects and architecture in America. The collection also contains his files during the time he served on the Historical Architecture Review Board for the Borough of Gettysburg, 1988 through 2008. Also included are Forness’ course materials, lecture notes, examinations and grade book for his history courses at Gettysburg College.

Special Collections and College …

Willem Blaeu's 'Asia Noviter Delineata': Expressions Of Power Through Naval Might And Natural Knowledge In Dutch Mapmaking, Joshua W. Poorman

Student Publications

This paper situates Dutch mapmaker Willem Blaeu’s Asia noviter delineata—part of the Stuckenberg Map Collection in the Gettysburg College Special Collections—within the larger framework of Renaissance thought and a shifting colonial balance of power. The map’s pictorial marginalia expresses a Dutch quest for empirical knowledge that echoed contemporary cabinets of curiosities throughout early modern Europe. Similar to these cabinets, Blaeu’s map can be seen as a cartographic teatro mundi, used to propagate Dutch hegemony through both a robust naval presence and an expanding geographic and natural knowledge of the world.

Adams County History 2011-2012

Adams County History

No abstract provided.

Shedding New Light On A Pennsylvania Painter: Finding "R. Fibich" And His Graveyard, Judith S. Pyle

Adams County History

The painting that would become known as the “York Springs Graveyard” (see cover illustration) was sold to Connecticut folk-art collectors Jean and Howard Lipman in about 1939 by Joe Kindig, an antiques dealer from York, PA. The 18” x 24” oil painting on canvas, of mid-nineteenth-century people and carriages at a cemetery, with cattle in the middle distance, is signed “R. Fibich.” The New York State Historical Association, Cooperstown, NY, subsequently acquired the painting from the Lipmans. It was cleaned, documented, studied, and then exhibited at various venues including the Primitives Gallery of Harry Stone (1942); the Union College of …