Author: Johanna Wickman

To Prove Our Worth: The 116th USCT Infantry From Civil War Service to Modern-Day Preservation

Posted on by Johanna Wickman

“To Prove Our Worth”: The 116th U.S.C. Infantry From Civil War Service to Modern-Day Preservation

Unidentified African American soldier holding a Springfield musket and bayonet. https://app.researcharsenal.com/imageSingleView/14795
Unidentified African American soldier holding a Springfield musket and bayonet. https://app.researcharsenal.com/imageSingleView/14795

The 116th USCT (United States Colored Troops) Infantry, raised in 1864, not only served through the latter years of the Civil War but continued into the post‑war occupation period. Its story is one of battlefield duty and perseverance under hardship. Today, its memory lives on through the preservation of its reunion flag at Camp Nelson National Monument in Nicholasville, Kentucky.

Origins and Military Service Summary

Organization and Attachments

The 116th USCT was organized at Camp Nelson, Kentucky, between June 6 and July 12, 1864. Initially, it was attached to the Military District of Kentucky in the Department of the Ohio. Over time it was moved through various command structures: to the 10th Corps (Army of the James), the 1st Brigade, 2nd Division, XXV Corps, and finally assigned to the Department of Texas and the Department of the Gulf until its muster-out in January 1867.

Campaigns and Duties

After duty at Camp Nelson, the regiment joined defensive operations at Hickman’s Bridge during a Confederate attack. In September 1864, the 116th USCT moved east to report to General Butler’s forces at City Point, Virginia. From October 1864 to April 1865, the regiment participated in the Siege of Petersburg and Richmond, engaging in operations across the James River, trench work, and expeditions including Hatcher’s Run and the Appomattox Campaign. The 116th took part in the fall of Petersburg on April 2 and pursued Lee’s forces to Appomattox Court House.

After Lee’s surrender, the regiment remained in Virginia until May 25, when it embarked for Texas, arriving in June. There it undertook occupation and garrison duties, including in the Lower Rio Grande district, before moving to New Orleans. The regiment was finally mustered out in Louisville, Kentucky on January 17, 1867.

Formation, Training, and Early Challenges

Kireker recalled the early formation of the unit under many doubts:

“The organization of the regiment commenced under difficulties, with much doubt expressed as to the propriety and utility of raising still another colored regiment when so many were filling the ranks of the Union Army already.”

From a contemporary Christian Recorder article, one recruit was quoted as saying:

“I go so that none may say our people stood idle when freedom called.”

Kireker emphasized the expectations placed on the new soldiers:

“It was necessary to instruct not only in drill and discipline, but in the habits and confidence of soldiers who must bear in mind that all eyes were upon them.”

Training life was tough. The regiment suffered shortages of clothing and shoes, and pay was delayed:

“Shoes were wanting, clothing not furnished in time, and pay was often delayed without proper explanation.”

One private, writing in the New York Anglo-African, remarked:

“If they send us to the rear of the lines, we will drill until they see we belong at the front.”

Combat, Disease, and Tenacity

On campaign, the 116th USCT was engaged in sieges, trench work, and assaults. But disease, exposure, and the wear of constant duty claimed many. As Kireker wrote:

“Disease proved our most relentless foe. Men who were strong at muster found themselves laid low in strange places, with too little comfort and often no family to attend them.”

From a soldier’s pension affidavit:

“I fear the fever more than the rifle. There is no running from it.”

Kireker described moments of valor in skirmishes and defenses:

“Our men stood their ground with firmness, executing each command with exactness, to the notable satisfaction of the officers overseeing the post.”

He also recorded praise from higher command:

“They did not falter where others had done so. The bearing of the 116th was creditable to the service.”

Racial bias within the Union structure also tested the regiment. Kireker noted:

“Prejudice from certain quarters was not infrequent, whether in matters of supplies or the disposition of duties. Yet the men comported themselves with dignity, seeking no special favor.”

A white officer later wrote in a veterans’ circular:

“They knew they fought two battles—one in the field, and one in the minds of men who doubted them.”

In southern towns through which they marched, impressions shifted. One Christian Recorder field report observed:

“The colored troops moved with precision, their uniforms neat, their muskets shining. Citizens who had scoffed now looked on in silence.”

Within the unit, mutual support and a shared sense of mission bolstered morale. Kireker remarked:

“Among them was a spirit of mutual regard not always discovered in older organizations. The men seemed resolved to succeed together, not singly.”

A postwar county veterans’ history quoted a sergeant:

“What drove us was not only country, but the belief that our actions would speak for those who had no voice.”

Muster-Out and Legacy

As the war ended, the regiment’s final months involved demobilization and occupation duty. Kireker recorded the closing with dignity:

“The 116th, having answered the call of the nation, departs its post with honor. Whatever history shall say, these men have borne true witness to their valor and fidelity.”

A veteran, in pension testimony, reflected:

“I wore the blue so my children would not have to beg for the right to live free.”

Their name lists, promotions, casualties, and movements survive in Kireker’s roster, making the 116th one of the more thoroughly documented U.S.C.T. units.

The 116th USCT Reunion Flag: Preserving the Memory

This is the reunion flag of the 116th USCT dated to a reunion sometime after 1912 given its 48 stars.
This is the reunion flag of the 116th USCT dated to a reunion sometime after 1912 given its 48 stars.

Beyond the battlefield and muster rolls, the legacy of the 116th USCT lives in a humble, poignant artifact: the regiment’s reunion flag. The Stories Through Keepsakes article “Rolling up the Reunion Flag of a Civil War Regiment, the 116th U.S. Colored Troops” recounts how, decades after the war, descendants, veterans, and historians safeguarded a banner that symbolized remembrance and identity.

I highly recommend reading the Stories Through Keepsakes article as it is a brilliant example of how we as collectors and museums preserve and protect these important artifacts from our history. It is incredible to follow a regiment’s journey from its original formation all they way through to modern times with the preservation of that regiment’s reunion artifacts.

Sources

The 1st Kentucky Cavalry: Wild Riders of the Union

Posted on by Johanna Wickman

The 1st Kentucky Cavalry: Wild Riders of the Union

A Regiment Born in Division

In 1861, Kentucky stood on a knife’s edge. Families and neighbors split over Union or Confederate loyalties, and the border state quickly became a hotly contested battleground. From this divided soil sprang the 1st Kentucky Cavalry (Union) organized at Liberty, Burkesville, and Monticello and mustered into service on October 28, 1861.

Colonel Frank Lane Wolford, a bold and outspoken Kentuckian, assumed command. Wolford’s men soon earned a nickname that stuck—the “Wild Riders”—a nod both to their hard campaigning and their reputation for individuality. Even their structure was unusual. Where Civil War regiments used companies A through M (skipping J), the 1st Kentucky Cavalry fielded a Company J, marking them as unconventional from the outset. Company J was very rare to see during the war as it was easily mistaken for Company I both visually and in written documents.

Baptism of Fire in Kentucky

Map showing regimental positions during the battle of Mill Springs, Kentucky on January 19, 1862. Visit https://www.battlefields.org/learn/articles/kentucky-chaos for more information on the battle.
Map showing regimental positions during the battle of Mill Springs, Kentucky on January 19, 1862. Visit https://www.battlefields.org/learn/articles/kentucky-chaos for more information on the battle.

The regiment’s first months of service were spent close to home, skirmishing with Confederate raiders in central Kentucky. The men were still raw recruits, yet their duties demanded toughness from the start. They scouted long miles of road, stood picket in cold autumn nights, and learned the shock of combat at places like Mill Springs.

Their own regimental historian later wrote that the unit was defined by “rapid and severe marches, hard service, and fierce conflicts on many a bloody field.” That hard service quickly became their daily reality.

The Perryville Campaign

When Confederate General Braxton Bragg invaded Kentucky in the fall of 1862, the 1st Kentucky Cavalry was called upon to shadow his movements. At Perryville, the largest battle fought on Kentucky soil, the regiment served on the flanks, skirmishing and screening. After the Confederate retreat, the cavalry pursued Bragg’s army southward in grueling marches through dust and hunger.

The campaign revealed the regiment’s endurance, but also its humanity. One cavalryman remembered that “the boys had had nothing to eat for two days, and many fainted from hunger and fatigue, yet not one left his place in the ranks.” Such moments showed the grit that sustained the regiment through the war.

Hard Riding in Tennessee

After Perryville, the regiment shifted south into Tennessee, where duty was even more unpredictable. Here they confronted not only Confederate cavalry but also guerrilla fighters. Daily service included scouting dangerous mountain passes, raiding supply lines, and fighting off ambushes.

There were lighthearted moments amid the tension. On one scouting expedition, a small squad surprised a Confederate outpost. Instead of fighting, the Union troopers leapt from their horses, “captured the enemy’s breakfast,” and rode off laughing, leaving the astonished Confederates to chase them too late. Such “amusing incidents” became campfire stories that lightened the soldiers’ weary days.

But East Tennessee was also a place of tragedy. Captured Union cavalrymen were often sent to notorious Confederate prisons. One veteran recalled “pathetic scenes” in the camps, where comrades “lay stretched upon the bare earth, wasted to skeletons, yet still clinging to life with desperate hope.”

Thrilling Adventures and Close Escapes

Cavalry service produced moments of hair-raising adventure. One tale tells of a trooper cut off during a skirmish. Surrounded, he spurred his horse to a desperate leap over a rail fence and tore through a cornfield with Confederates in hot pursuit. “Bullets whistled around him,” the account reads, “but he escaped unharmed, to the wild cheers of his comrades.”

Another man, taken prisoner in Tennessee, managed to trick his guards by feigning illness. When left unattended, he slipped away under cover of night, surviving for days on green corn before rejoining his regiment. His “thrilling escape” became a source of pride for his company.

These stories—half grim, half heroic—illustrated the life of the “wild riders,” where every march might bring danger or absurdity.

Into Georgia and the Atlanta Campaign

By 1864, the 1st Kentucky Cavalry was seasoned. Their skills were put to full use in General William T. Sherman’s drive on Atlanta. The regiment helped raid Confederate railroads, burning bridges and tearing up track to cut the lifelines of the besieged city.

At one point they rode more than fifty miles in two days, surviving on handfuls of cornmeal, just to reach their objective. A trooper later remembered, “Our saddles were never dry, our horses never rested, yet still we pressed on, for the fall of Atlanta depended upon our speed.”

These raids were exhausting, but they helped choke off Confederate supplies and hastened the fall of the city, one of the great turning points of the war.

Leaders and Characters

Portrait of Colonel Frank Wolford of the 1st Kentucky Cavalry https://app.researcharsenal.com/imageSingleView/2040
Portrait of Colonel Frank Wolford of the 1st Kentucky Cavalry. https://app.researcharsenal.com/imageSingleView/2040

Colonel Wolford’s leadership defined the early regiment. Courageous to a fault, he once led a charge so recklessly that his own men joked, “The colonel never saw a gray coat he did not wish to chase.” Wolford also became notorious for criticizing Union authorities, especially over emancipation policy, which eventually led to his arrest and resignation.

Other officers rose in his stead, including Silas Adams, who served ably and went on to a career in Congress. The regiment’s leadership was as colorful as the rank and file, reinforcing their “wild” reputation.

Muster Out and Memory

As enlistments expired, the regiment mustered out beginning on December 31, 1864, though some elements remained until September 1865. By then, the war was all but over. The 1st Kentucky Cavalry had carried the Union banner through Kentucky, Tennessee, and Georgia, fighting in dozens of skirmishes and campaigns.

When the survivors looked back, they remembered both the misery and the humor of their service: the “pathetic scenes” of prison camps, the “amusing incidents” of stolen breakfasts or pranks, and the “thrilling adventures” of desperate rides and escapes. These words became part of their story, capturing the extremes of Civil War cavalry life.

Legacy of the Wild Riders

The legacy of the 1st Kentucky Cavalry rests not only on their military record but on their identity as Kentuckians fighting for the Union in a divided state. Their odd structure—with its rare Company J symbolized their unorthodox character. Their leaders were bold, their troopers resilient, and their stories a mixture of tragedy and humor.

In their own words, they were men of “rapid and severe marches, hard service, and fierce conflicts on many a bloody field.” During their service they carried the Union cause on horseback, and the “wild riders” of the 1st Kentucky Cavalry stand as a testament to the endurance, daring, and humanity of the Civil War soldier.

To learn more about the 1st Kentucky Cavalry, I recommend reading “The Wild Riders of the First Kentucky Cavalry: A History of the Regiment, In the Great War of the Rebellion” by Sergeant E. Tarrant. You can see a PDF of it here: https://dn790008.ca.archive.org/0/items/wildridersoffirs00tarr/wildridersoffirs00tarr.pdf

Another site with some good information on the 1st Kentucky is here: https://freepages.rootsweb.com/~bigsandyvalley/military/Union%20Regiments%20of%20Kentucky/1kycav.html

On the Research Arsenal Database, we have a number of documents relating to the 1st Kentucky Cavalry. Simply select the Library you wish to view and filter by regiment. There are seven letters that come up on search as well as numerous ordnance returns and other military forms.

The Battle of Antietam: First-Hand Accounts

Posted on by Johanna Wickman

The Battle of Antietam: First-Hand Accounts

Antietam on the day of the battle, September 17, 1862.
Antietam on the day of the battle, September 17, 1862. Image: https://app.researcharsenal.com/imageSingleView/1062

On a foggy morning of September 17, 1862, the fields around Sharpsburg, Maryland, were transformed into the single bloodiest day in American military history. The Battle of Antietam (or the Battle of Sharpsburg, as Southerners called it) brought Robert E. Lee’s Army of Northern Virginia into violent confrontation with Major General George B. McClellan’s Army of the Potomac. In the span of twelve hours, more than 22,000 men were killed, wounded, or missing—that’s over 1,800 men per hour. Beyond its staggering human cost, Antietam changed the direction of the war and, in many ways, the nation itself.

Lee’s Gamble

In September 1862, buoyed by victories at Second Manassas, General Robert E. Lee made the daring decision to carry the war into Union territory. His goals were ambitious: disrupt Northern morale, encourage Maryland to join the Confederacy, resupply his army, and perhaps secure diplomatic recognition from Britain or France. McClellan, moving cautiously as ever, learned of Lee’s plans when Union soldiers discovered a copy of Special Order 191. Even with this advantage, McClellan delayed, giving Lee time to concentrate his scattered forces at Sharpsburg, where they took defensive positions behind Antietam Creek.

The Battle Begins

At dawn on September 17, Union General Joseph Hooker led the opening assault against the Confederate left. The fighting in the Cornfield near the Dunker Church became a nightmare of smoke and musketry. Regiments surged forward and fell back, often leaving heaps of dead and wounded where they stood only minutes before.

In the center of the line, Union forces struck a sunken farm road, quickly christened “Bloody Lane.” The Confederates used the eroded roadbed as a makeshift trench, repelling wave after wave of attackers until their lines finally broke. Although Union troops captured the position, they failed to press their advantage.

Later in the afternoon, Union General Ambrose Burnside launched an attack on the Confederate right, attempting to cross a narrow stone bridge over Antietam Creek. For hours, his men faced withering fire from Confederate marksmen. At last, Burnside’s men surged across and began to push the Confederates back toward Sharpsburg. But just as victory seemed possible, A. P. Hill’s “Light Division,” marching twenty miles from Harpers Ferry, arrived on the field. Their timely counterattack drove Burnside back and saved Lee’s army from destruction.

Stalemate, Yet Turning Point

By nightfall, neither side had gained a decisive advantage. Lee’s army held its ground on September 18, then slipped back across the Potomac the following night. McClellan, wary of Lee’s strength, failed to pursue. Militarily, the battle was a draw.

But strategically, Antietam was a Union victory. Lee’s first invasion of the North had been stopped. More importantly, the outcome gave President Abraham Lincoln the confidence to issue the preliminary Emancipation Proclamation, redefining the war as a struggle not only to preserve the Union but also to end slavery in the rebelling states. Foreign powers, particularly Britain and France, were now far less likely to recognize the Confederacy.

The cost was enormous: Union casualties numbered about 12,400, including more than 2,100 killed. Confederate casualties were around 10,300, with some 1,600 killed. In one day, more than 22,000 Americans became casualties.

First-Hand Accounts from the Field

Colonel Turner Morehead. He first served in a Philadelphia Militia company called the Washington Grays in 1835, becoming Captain by the start of the Mexican War. In May 1846 he was mustered into service as Captain in the Pennsylvania First Regiment of Foot, and saw combat service in Mexico. "As the 106th Pennsylvania retreated northward across the open fields between the West Woods and the Hagerstown Pike, a bullet struck Colonel Morehead's horse, sending both mount and rider sprawling to the ground. Morehead was pinned under his horse when three members of the regiment, seeing his predicament, returned to free him.""Badly bruised, the Colonel was making his way northward when he realized he had lost his sword. Those by his side tried to persuade him not to return for the cherished possession, but his reply was 'Yes I will, that sword was given to me by my men and I told them I would protect it with my life and never see it dishonored, and I am not going to let them damned rebels get it.' " "Morehead rushed back to where his horse lay and recovered the sword. The enemy, by then only yards away, ordered Morehead to surrender. He refused and fled northward amid a volley of enemy rifle fire. None of the bullets hit its mark, and the Colonel made it safely to friendly lines in the vicinity of the Miller house."
Colonel Turner Morehead. He first served in a Philadelphia Militia company called the Washington Grays in 1835, becoming Captain by the start of the Mexican War. In May 1846 he was mustered into service as Captain in the Pennsylvania First Regiment of Foot, and saw combat service in Mexico. “As the 106th Pennsylvania retreated northward across the open fields between the West Woods and the Hagerstown Pike, a bullet struck Colonel Morehead’s horse, sending both mount and rider sprawling to the ground. Morehead was pinned under his horse when three members of the regiment, seeing his predicament, returned to free him.”
“Badly bruised, the Colonel was making his way northward when he realized he had lost his sword. Those by his side tried to persuade him not to return for the cherished possession, but his reply was ‘Yes I will, that sword was given to me by my men and I told them I would protect it with my life and never see it dishonored, and I am not going to let them damned rebels get it.’ “
“Morehead rushed back to where his horse lay and recovered the sword. The enemy, by then only yards away, ordered Morehead to surrender. He refused and fled northward amid a volley of enemy rifle fire. None of the bullets hit its mark, and the Colonel made it safely to friendly lines in the vicinity of the Miller house.” Image: https://app.researcharsenal.com/imageSingleView/1085

There is no substitute to primary accounts of an historical event. These are just some of the many voices from the battlefield:

Major Rufus R. Dawes, 6th Wisconsin Infantry

In the Cornfield, Major Dawes of the famed Iron Brigade witnessed the chaos firsthand:

“A long, steady line of rebel gray, nothing shaken by the fugitives who fly before us, comes sweeping down through the woods around the church. They fire. It is like a scythe running through our line. ‘Now, save, who can.’ It is a race for life that each man runs for the cornfield.”

Dawes later recalled how men were “knocked out of the ranks by the dozens.” He also remembered the death of Captain Werner Von Bachelle of Company F, whose loyal Newfoundland dog refused to leave his master’s body, dying beside him. The two were buried together.

Surgeon William Child, 5th New Hampshire Volunteers

For medical staff, the aftermath was often worse than the battle itself. The emotional toll faced by surgeons in primitive field hospitals would have been traumatic to say the least. Surgeon William Child wrote home:

“The days after the battle were a thousand times worse than the day of battle. I dressed 64 wounded men that day—many with two and three wounds each.”

Private Alexander Hunter, 17th Virginia Infantry

On the Confederate side, Private Hunter captured the sounds of the battle in poetic imagery:

“It was no longer alone the boom of the batteries, but a rattle of musketry—at first like pattering drops upon a roof; then a roll, crash, roar, and rush, like a mighty ocean billow upon the shore.”

A Soldier’s Loss

Another unnamed soldier recorded the moment he marched past the body of his own father, killed in a nearby regiment.

“A wounded man, who knew them both, pointed to the father’s corpse, and then upwards, saying only, ‘It is all right with him.’ Onward went the son, by his father’s corpse, to do his duty in the line, which, with bayonets fixed, advanced upon the enemy. When the battle was over, he came back. and with other help. buried his father. From his person he took the only thing he had. a Bible, given to the father years before, when he was an apprentice.”

Remembering Antietam

Today, Antietam National Battlefield preserves these rolling fields and quiet roads, places once filled with the roar of cannon and cries of the wounded. To walk through the Cornfield, stand at Bloody Lane, or gaze across Burnside Bridge is to be confronted by the staggering human price of the conflict.

Antietam was not the final battle of the Civil War, nor was it the bloodiest overall. But in a single day, it forced the nation to reckon with the terrible costs of division—and pointed toward a broader vision of freedom. Through the words of those who endured it, we remember not just strategy and numbers, but the courage, grief, and sacrifice of the individuals who lived through September 17, 1862.

Antietam on the Research Arsenal

You can filter each library on the Research Arsenal by battle and applying that filter with the term “Antietam” brings up 38 letters and diaries related to the battle, as well as 45 photographs. In addition, you can search for specific regiments involved in the Ordnance Returns, Clothing Ledgers, Morning Reports, and Military Forms libraries for additional search results.

Sources

 

Safe Lighting for Exhibiting Your Collection

Posted on by Johanna Wickman

Illuminating the Past Without Destroying It: Safe Lighting for Exhibiting Your Collection

When we walk into a museum or gallery, the first thing we often notice is the light. It sets the mood, guides our eyes, and brings the details of fragile objects into focus. Yet, the very thing that allows us to see history can also destroy it. Light—whether from the sun, a gallery spotlight, or even dim ambient sources—causes irreversible harm to artifacts. Fading, yellowing, and weakening of fibers all accumulate quietly over time, leaving objects permanently altered. Museums face the difficult challenge of balancing accessibility with preservation: making objects visible to the public while also protecting them for the future. This is the same challenge that private collectors face while being the caretakers of historic artifacts.

And if this is a challenge in museums, it’s really going to be a challenge in personal homes. However, private collectors can follow museum best practices as best they can and that will help prolong the life of their collection.

The Conservation Center for Art & Historic Artifacts (CCAHA) emphasizes that light damage is cumulative and cannot be undone. Once colors fade or paper embrittles, there is no restoration to its original state. What’s more, light damage doesn’t occur evenly—certain materials are vastly more sensitive than others. Photographs, textiles, and works on paper are particularly vulnerable, while ceramics, metals, and glass are more forgiving. But even the strongest object will eventually show the effects of long-term exposure if left unchecked.

Recommended maximum and cumulative light levels for different materials. Source: Quinn Evans https://www.quinnevans.com/news/meeting-the-daylighting-challenge-for-artifact-protection
Recommended maximum and cumulative light levels for different materials. Source: Quinn Evans https://www.quinnevans.com/news/meeting-the-daylighting-challenge-for-artifact-protection

The science of safe lighting revolves around two major considerations: how bright the light is, and how long an object is exposed to it. Brightness is measured in lux (lumens per square meter), and cumulative exposure is calculated as lux multiplied by time, known as “lux-hours.” To put this in perspective, imagine a manuscript displayed under 100,000 lux of daylight for just one hour—that’s the same exposure as keeping it under dim 50 lux gallery lighting for two thousand hours. The math makes clear why even “safe” low light levels can become dangerous if the duration stretches too long.

Because of these risks, museums follow general guidelines for different categories of sensitivity. The most fragile objects—things like photographs, textiles, and paper documents—should not be illuminated above about 50 lux, and even then only for brief periods. Moderately sensitive artifacts, such as oil paintings, wood, or leather, can tolerate up to 150 lux, while sturdier items like metals or ceramics can withstand up to 300 lux. The difference might not seem dramatic to the naked eye, but for the objects themselves it can mean decades of preservation versus rapid decline.

It isn’t just visible light that causes harm. Ultraviolet (UV) radiation, which the human eye cannot see, is especially destructive. Museums work hard to minimize UV exposure by using specialized bulbs, applying UV-filtering films to windows, or installing protective acrylic glazing on display cases. Even then, filters degrade over time and need replacement every decade or so. Without these measures, daylight streaming innocently through a window could cause a vivid textile to fade in just a matter of months. UV light can also rapidly fade and yellow historic papers. It will fade the writing off handwritten documents and wash out photographs quickly.

Another equally important aspect of protection is time. Restricting how long an object remains on display is often the best safeguard. Institutions often rotate collections, allowing fragile objects only a few months of exhibition every few years, then resting them in dark storage for long stretches in between. In some cases, facsimiles or digital reproductions stand in for the originals, especially when public demand for viewing is high and conservation concerns outweigh continuous display. To further cut down on exposure, some museums use motion sensors or timed lighting systems so that cases illuminate only when visitors are nearby. While collectors often want their collections on permanent exhibit, rotating items is definitely something to consider. If that’s not possible, I would recommend displaying the collection in a room that is in darkness most of the time with no windows.

Here is an example of an exhibit gallery using very low lighting. This is at the Met and you can see how the artifacts are in nearly total darkness and lit only dimly. This is helping to preserve the colors and overall condition of the works while still allowing visitors to see them. Often these galleries have motion sensors and the lights do not turn on until someone walks in.
Here is an example of an exhibit gallery using very low lighting. This is at the Met and you can see how the artifacts are in nearly total darkness and lit only dimly. This is helping to preserve the colors and overall condition of the works while still allowing visitors to see them. Often these galleries have motion sensors and the lights do not turn on until someone walks in.

Monitoring is also critical. Conservators regularly measure light and UV levels with handheld meters or data loggers, keeping track of an object’s cumulative exposure. Test cards and spectrophotometers may be used to check fading rates, particularly for valuable or unusually fragile items. Over time, museums build careful records of each artifact’s exposure history, ensuring that no single piece receives more than its safe share of light across multiple exhibitions. This is important because if something is being damaged gradually, you are not likely to notice it until it is too late. These devices that can track that data will be able to tell you if something is at risk even if you can’t see it.

This constant balancing act between visibility and protection shapes the design of entire exhibitions. Galleries often remain in darkness outside of public hours, with blackout shades pulled tight over windows. Cases are designed with UV-filtered glazing, and even the interior lighting is carefully designed to ensure it falls within recommended ranges. Light boxes, where illumination passes through an object from behind, are typically avoided because of their intensified effect on sensitive materials. Everything about the display environment is engineered to minimize harm while still allowing visitors to engage meaningfully with the past.

At first glance, these rules might sound overly restrictive—fifty lux seems impossibly dim compared to the lighting in most public spaces. Yet our eyes adapt remarkably well to low levels of illumination, especially in darkened gallery environments. What feels like a hushed, intimate setting is, in fact, an intentional design choice. By lowering overall brightness, curators make the most fragile objects legible without overwhelming them. Visitors often leave with a heightened sense of atmosphere, not realizing that the ambiance is as much about conservation as it is about aesthetics.

The lesson in all this is that light, while essential, must be treated as a carefully controlled tool rather than a neutral presence. The objects entrusted to museums carry centuries of history, and their survival depends on choices made today about how brightly they are lit and how long they are exposed. By respecting safe thresholds, rotating displays, filtering UV, and monitoring conditions, curators ensure that artifacts endure.

For those of us who collect historic objects these same principles apply. Limit direct sunlight, use UV-filtering glass or films, choose lower-wattage bulbs, and think about how long objects are exposed. Remember that every hour of illumination adds up. The goal isn’t to lock history away in darkness, but rather to reveal it thoughtfully—balancing access with stewardship. This ensures that our collections will live on long beyond us.

Records Group 94 Feature: 8th Illinois Cavalry

Posted on by Johanna Wickman

Records Group 94 Feature: 8th Illinois Cavalry

Saddles, Carbines, and First Shots: The Story of the 8th Illinois Cavalry

When the Civil War erupted in 1861, men across Illinois answered President Lincoln’s call. Among them, those who enlisted in the 8th Illinois Cavalry would go on to carve out a remarkable history, full of daring raids, brushes with famous Confederate commanders, and even a claim to one of the most significant “firsts” of the war. Though not always in the spotlight, their story is one worth remembering—both for its heroism and for the human moments that shine through.

Early Days: A Regiment with an Edge

The 8th Illinois Cavalry was mustered into service in September 1861, pulling in farmers, merchants, clerks, and adventurous young men from across northern Illinois. They were unusual from the start, being issued breech-loading carbines, which gave them a faster rate of fire than many of their Confederate foes.

One soldier later recalled:

“Our breech-loaders gave us the power to strike quick and fall back before the enemy’s slow rifles could answer.”

That technological edge made the regiment a thorn in the Confederacy’s side from their first campaigns.

Gettysburg: The Shot That Sparked the Battle

Veterans of the 8th Illinois Cavalry pose with the marker commemorating the first shot fired at Gettysburg during the 50th anniversary reunion, July 1913.
Veterans of the 8th Illinois Cavalry pose with the marker commemorating the first shot fired at Gettysburg during the 50th anniversary reunion, July 1913.

The regiment’s most enduring claim to fame came on the morning of July 1, 1863, at Gettysburg. Lieutenant Marcellus E. Jones, borrowing a carbine from Sergeant Levi Shafer, fired the first shot of the battle.

Jones later reflected:

“I did not think of making history, only of doing my duty.”

That single shot helped set in motion the Union Army’s defense of the Pennsylvania crossroads town, and the regiment continued to screen, scout, and skirmish throughout the bloody three-day battle.

Soldiers’ Stories: Faces of the Regiment

Portrait of ColonelJohn F. Farnsworth, 8th Illinois Cavalry.
Portrait of Colonel
John F. Farnsworth, 8th Illinois Cavalry. https://app.researcharsenal.com/imageSingleView/2282

Col. John Farnsworth – The Politician-Turned-Cavalryman

John Farnsworth, the regiment’s first commander, was a lawyer and politician before the war. Known for his fiery speeches in Congress, he traded words for weapons when he helped raise the 8th Illinois. Though not always a tactician of genius, Farnsworth’s charisma and drive helped mold the regiment in its early days.

Lt. Marcellus E. Jones – The Man of the First Shot

Jones’ name is forever tied to Gettysburg. What’s less known is that after the war, he returned to Illinois and became a judge. He attended veterans’ reunions faithfully, always modest about his place in history.

Capt. William Medill – A Fallen Leader

One of the regiment’s most poignant stories is that of Capt. William Medill, who was killed at the Battle of Malvern Hill in 1862. Medill was the brother of Chicago Tribune editor Joseph Medill, and his loss struck both the regiment and his influential family deeply. His death was a reminder that the war’s reach extended from battlefields to newsrooms and parlors back home.

Pvt. William F. Lyons – The Camp Humorist

Not every legacy was written in blood. Private William Lyons became known in the regiment for his jokes and antics. One comrade remembered:

“Lyons could turn the gloomiest camp into laughter. Even after a twenty-mile march, he’d find some jest to make us forget our sore feet.”
His humor was more than entertainment—it was survival for men who faced constant fatigue and danger.

Sgt. Levi Shafer – The Lender of the Carbine

Often overlooked, Sergeant Shafer deserves credit as the man whose carbine fired the first shot at Gettysburg—though in another’s hands. Accounts suggest he joked about it later, saying Jones “borrowed the honor along with my gun.”

Facing Stonewall Jackson and J.E.B. Stuart

The 8th Illinois crossed paths with some of the Confederacy’s greatest commanders. They tangled with Stonewall Jackson’s forces in the Shenandoah Valley, and often sparred with J.E.B. Stuart’s cavalry.

One trooper wrote of the nerves these encounters demanded:

“To fight Stuart was to fight the wind. One moment we thought him far off, the next he was upon our flank.”

Against such opponents, the Illinois men learned to be cautious, quick, and clever.

Camp Life: Humor Amid Hardship

Cavalry life was grueling. Horses needed care before the men themselves, food was often short, and disease lurked everywhere. Yet soldiers made the best of it.

One diary notes:

“We staged a mock parade, strutting like peacocks until even the colonel laughed.”

Moments like these carried the men through endless nights in fields and barns, when war felt far from glorious.

Raids, Risks, and Narrow Escapes

The regiment became adept at raiding behind enemy lines—cutting telegraph wires, seizing supplies, and spreading confusion. But raids were perilous.

As one officer admitted:

“It was a game of hours. Delay meant capture, haste meant ruin of our mounts. Raiding was not grand, but desperate work.”

The 8th Illinois survived many close calls, often escaping capture by sheer grit.

The Toll of War

The price was high. Disease, exhaustion, and combat steadily thinned their ranks. Soldiers mourned not just their comrades but also their horses, with whom they shared a unique bond.

One letter home captures this attachment:

“I pray my horse may live to see Illinois pasture. He has borne me as true as any friend.”

These words show how intertwined man and mount were in the cavalry experience.

After the War: Guardians of Memory

When the war ended at Appomattox, the 8th Illinois Cavalry returned home with honor. But they did not let their story fade. Veterans became active in preserving battlefields, attending reunions, and sharing their history.

At one gathering, a veteran declared:

“We fired the first shot, aye, but we also bore the long burden. Let no man forget that Illinois riders held fast from first to last.”

The 8th Illinois Cavalry’s history is more than a string of dates and battles—it’s the lived experience of men like Jones, Medill, Lyons, and Shafer. Some made history in famous moments, others in laughter or sacrifice, but together they formed a regiment that left its mark on the Civil War.

Their story reminds us that behind every regiment number are names, faces, and lives—ordinary men who carried themselves with extraordinary courage. And sometimes, history itself can turn on the squeeze of a trigger, on a borrowed carbine, on a quiet Pennsylvania morning.

The Research Arsenal has the complete records of the 8th Illinois Cavalry from Records Group 94 held at the National Archives, available to view online. Simply click on “Search NARA Records” on the homepage, then select “RG 94” as the call number.

Portrait of Dr. Abner Hard, the author of "History of the Eighth cavalry regiment, Illinois volunteers, during the Great Rebellion" published in 1868.
Portrait of Dr. Abner Hard, the author of “History of the Eighth Cavalry Regiment, Illinois Volunteers, During the Great Rebellion” published in 1868.

The information in this post was pulled from the “History of the Eighth Cavalry Regiment, Illinois Volunteers, During the Great Rebellion” by Abner Hard, M.D. published in 1868. You can view a PDF of that book via the Library of Congress HERE

Collection Preservation Tips From The National WWII Museum

Posted on by Johanna Wickman

Collection Preservation Tips from The National WWII Museum

This photograph from the National WWII Museum shows collections boxes stored on Space Saver shelving, in archival boxes, and properly tagged with archival tags. Notice the staff member is also handling the poster with gloves while is fully supported so that it doesn't bend and tear. Image source: https://www.nationalww2museum.org/war/articles/20-years-collecting-wwii-artifacts
This photograph from the National WWII Museum shows collections boxes stored on Space Saver shelving, in archival boxes, and properly tagged with archival tags. Notice the staff member is also handling the poster with gloves while is fully supported so that it doesn’t bend and tear. Image source: https://www.nationalww2museum.org/war/articles/20-years-collecting-wwii-artifacts

Although the National WWII Museum is a bit further forward in time than Civil War collectors, the concept of preserving uniforms, firearms, photographs, and paper, is much the same. Their website is a fantastic resource for the private collector, so I thought it would be helpful to distill some of their key collection preservation tips down for Civil War collectors.

The National WWII Museum champions the principle “Do No Harm”, offering clear, practical guidance to help preserve such treasures for future generations. You’ll recognize the “Do no harm” motto as something I have repeated in previous posts—do not do anything to your collection that is not reversible! Put down those ballpoint pens! (If you know, you know…)

Seven Factors That Can Affect Your Collection

Before diving into specific techniques, here are seven factors that can affect your collection that you should be aware of:

  1. Light: UV-rich sunlight and fluorescent lighting can severely damage paper, textiles, photographs, and furniture. Keep sensitive items out of direct exposure.
  2. Temperature: Extreme or fluctuating temperatures wreak havoc on materials like rubber, wood, and metal. Avoid attics, basements, and unconditioned spaces.
  3. Humidity: Too much moisture fosters mold and pests; too little causes brittleness. Aim to maintain 45–55% relative humidity in stable environments.
  4. Pests: Insects like silverfish (paper), moths (textiles), and termites (wood) can be destructive. Regular inspections are essential.
  5. Human Handling: Oils, sweat, or makeup from hands—even gentle touching—can harm surfaces. Always use cotton or nylon gloves and avoid unnecessary handling.
  6. Chemical Reactions & Pollutants: Metals and marble can corrode when exposed to indoor airborne chemicals; avoid the use of acid-emitting materials.
  7. Inherent Vice: Some materials naturally degrade due to incompatible components—such as leather glued to wood. Periodic condition checks help catch early signs.

Tailored Preservation Tips by Material

Textiles

  • Store in climate-controlled spaces, not attics or basements.
  • Keep out of bright light and UV exposure.
  • Use acid-free boxes—avoid ordinary cardboard or wooden drawers. Wood will off-gas over time and that can discolor and damage your collection.
  • Store flat when possible; pad and support folds if necessary.
  • Use acid-free tissue padding, properly padded hangers, or roll large textiles around acid-free tubes—never sealed plastic bags. If moisture is sealed inside a plastic bag with your textile, it can cause mold.

Paper

  • Maintain storage below 72°F and around 50–55% humidity. This may seem like a high level of humidity, but very dry air can be as destructive as very humid air, just for different reasons. This level of humidity will keep the paper from becoming brittle and crumbling.
  • Keep flat, avoid folds, and use acid-free folders/boxes/sleeves.
  • Frame with archival-quality, acid-free materials and UV protective glass.

Photographs

  • Store in a cool, dry place, use acid-free or inert framing materials.
  • Handle by the edges, ideally with gloves—avoid touching surfaces.
  • No tape, markers, paper clips, or sticky notes; use pencil on copies or backs.
  • Avoid self-adhesive photo albums at all costs. I know those were very popular in the 1980s and 1990s, but they are bad news for the longevity of your collection! Opt for acid-free sleeves or place them with archival photo corners in archival photo albums.
  • Be sure to rotate any original images when displayed, or better yet, consider displaying copies, leaving originals safely stored.

Metal Artifacts

  • Most metals (except gold) are prone to corrosion—store in dry, conditioned spaces.
  • Don’t polish or clean without professional consultation. Cleaning and polishing old metal ruins the aged patina on the item, which can also be an issue when determining authenticity of a piece.
  • Always wear gloves when handling. Oil from your fingers will damage the original polish on a sword or other fine steel.
  • Light oil (e.g., 3-in-One) or wax (e.g., paste wax) may help preserve steel or iron—but consult a specialist for weapons.

Leather

  • Store in moderate humidity and temperature, away from direct light.
  • If dirty, gently clean with damp cotton cloths. Please avoid saddle soap or conditioners as they can discolor and damage historic leather.
  • Never apply petroleum products; they can cause irreversible damage.
  • Use acid-free stuffing to maintain form—support shoes, boots, cases thoughtfully. If you have an old saddle, for example, make sure that it is fully supported on a saddle stand. If it’s sitting on a shelf, that puts the weight on parts of the saddle that are not designed to carry it, causing damage. That can also cause excessive strain on stirrups and other components. The dryer and more brittle the leather, the more of a concern this is as leather tends to stiffen over time.
  • Suede and kid leather are different, and should be treated by a specialist.

Wood

  • Wood objects are fairly stable if kept in consistent, moderate environments.
  • Avoid direct sunlight, over-cleaning, or using linseed/oil-based products.
  • Wax like SC Johnson Paste Wax may offer a protective layer; oil sparingly, especially around handles or grips.
  • When oiling your firearms, make sure not to get that oil onto the grips or stocks.

Expert Resources & Support

If you require a professional opinion, or are just looking for more information, these are some great resources:

  • American Institute for Conservation — to find recognized conservators.
  • Library of Congress — guidance on paper and photo care.
  • Northeast Document Conservation Center — specializes in paper/photo conservation.

To purchase archival materials like acid-free boxes or folders, recommended vendors include Gaylord, Archival Methods, University Products, and Talas.

8 Tips for Displaying Historic Clothing at Home

Posted on by Johanna Wickman

For private collectors, historic garments are not just beautiful objects — they’re tangible connections to the past. Displaying them at home allows you to share their stories with visitors and enjoy them yourself. But unlike modern clothing, historic textiles can be fragile and vulnerable to damage if displayed without care. Here are 8 tips for displaying historic clothing at home, adapted from museum-standard techniques, to help you exhibit your collection safely.

 

1. Handle With Care

The single most important principle in working with historic garments is minimal handling. Every time a textile is touched, there’s a small risk of damage — so plan before you move it.

Preparation tips:

  • Remove rings, watches, and jewelry that could snag fabrics.
  • Wear nitrile or cotton gloves when handling garments. This is to reduce the transfer of oils on the hands and fingers which can discolor the fabrics. Nitrile gloves are the preferred glove as they allow for more tactile control when handling clothing.
  • Use support materials such as acid-free tissue paper or polyethylene foam when lifting or storing garments.

 

2. Assess Before You Display

Before you mount any piece, inspect its condition. Look for signs of:

  • Weak seams
  • Tears, holes, or splits in the fabric
  • Insect damage (e.g., moth or carpet beetle frass)
  • Stains, mold, or other deterioration

If the garment is extremely fragile or damaged, it may need conservation work before it’s safe to display. When in doubt, consult a professional textile conservator. This is a big one. If the garment is damaged to the point that displaying it will cause it more damage—then you definitely want to contact a conservator to have it repaired first.

 

3. Choosing the Right Support

Mannequins and Dress Stands

If you are displaying a uniform piece such as a jacket, coat, shirt, or even a civilian woman’s dress, you’ll want to use a mannequin or some kind of dress form ideally. The reason for this being, that a mannequin will fill out the uniform and allow it to sit properly. For example, think about when you wear a coat. The weight falls on your shoulders across your back and is distributed along the width of your shoulders. Now, when you take it off and put it on a hanger, all that weight is distributed across the thin metal or plastic bar of the hangar. This puts all the weight on a very thin bar which, over time, damages the coat. This is why you’ll often see thicker wooden hangars for coats, or padded hangars for delicate women’s garments.

This is a screenshot of a TikTok video I found that shows a Civil War uniform exhibited on a mannequin that is too large. Notice how it cannot be fully buttoned. By buttoning the top two buttons, you can see the stress put on the garment because those two buttons are trying to hold the whole thing together. This is an example of why it is important to use a mannequin that fits your garment, and why it's better to work with one that's on the slightly too small side and pad it up.
This is a screenshot of a TikTok video I found that shows a Civil War uniform exhibited on a mannequin that is too large. Notice how it cannot be fully buttoned. By buttoning the top two buttons, you can see the stress put on the garment because those two buttons are trying to hold the whole thing together. This is an example of why it is important to use a mannequin that fits your garment, and why it’s better to work with one that’s on the slightly too small side and pad it up.
Here is another example of a mannequin being too large. In this case they have chosen not to button up the WWII WAC uniform. This was the correct choice as it is still fully supported on the mannequin form and buttoning it would have caused undue stress on the garment. Also notice the black lining on the dress form to protect the garment.
Here is another example of a mannequin being too large. In this case they have chosen not to button up the WWII WAC uniform. This was the correct choice as it is still fully supported on the mannequin form and buttoning it would have caused undue stress on the garment. Also notice the black lining on the dress form to protect the garment.
  • For display, your choice of figure is crucial. The mannequin should be smaller than the garment so that it can be padded out to fit. This avoids stretching or stressing the fabric as discussed above, and padding the mannequin ensures that the clothing is resting on as much support as possible.
  • Mannequins are available in all sorts of shapes and sizes. Make sure to look for museum quality and archival ones.
  • Custom mannequins are ideal but can be expensive. If you have a large budget to play with in your home exhibit, this is definitely an option, but it is not necessary.

 

4. Padding to Fit

Historic women’s clothing was designed for very different body shapes than modern ones. A modern woman’s mannequin almost never fits perfectly without modification. Padding creates both support and authentic silhouette. And, in most exhibits I’ve worked on, we’ve actually used child-sized mannequins to display vintage women’s clothing. This occasionally is an issue with men’s clothing as well, as folks were just generally smaller in those days.

Here is a great example of padding done to a dress form to exhibit a WWI uniform. Notice how the sleeves have been added to the torso. This was done at the Ransom Center in Texas, and they have posted a fantastic step-by-step blog with photos of how they made this dress form work for their historic WWI uniform.
Here is a great example of padding done to a dress form to exhibit a WWI uniform. Notice how the sleeves have been added to the torso. This was done at the Ransom Center in Texas, and they have posted a fantastic step-by-step blog with photos of how they made this dress form work for their historic WWI uniform. You can see the blog here: https://sites.utexas.edu/ransomcentermagazine/2014/04/22/world-war-i-uniform/
  • Padding will help ensure that the garment rests solidly on the mannequin without causing undue stress on the seams.
  • Build shape with polyester wadding, working in layers and feathering edges to avoid sharp lines.
  • Women’s clothing will likely need additional padding. Focus padding where historic undergarments would have shaped the body (e.g., bust and hips for 19th century corsets).
  • Cover the padded mannequin with washed stretch cotton jersey to protect the garment and keep the padding in place. Once it is covered, you can place the original garment onto the mannequin. It should fit as if it was made to fit the form you just created. It should not be snug and tight, nor should it be too loose.

 

5. Positioning and Safety at Home

Museum conditions are hard to replicate exactly, but you can still take steps to protect your collection.

  • Avoid direct sunlight and strong artificial light. UV causes fading and fiber breakdown. Please do not set up that super cool Civil War infantry major’s uniform in front of your bay window, or in a basement that is lit with fluorescent lights. You can purchase UV film rather inexpensively to take care of UV light coming from windows and artificial lights.
  • Maintain a stable environment — avoid damp basements, attics with extreme temperatures, or areas near heat sources. Air vents, drafty windows, and humid environments are all bad for collections.
  • Keep displays away from kitchens or open windows where pollutants and dust are common.
  • Ensure the garment is secure on its mount so it won’t shift or slip if the display is bumped. This should not be a problem if it fits properly on the mount you created.
  • If at all possible, place the mannequin and historic garment inside an exhibit case. This will go a long way in keeping dust and pollutants off of it, and make it more difficult for moths to get at them. It also offers some minimal protection from water and smoke damage.

 

6. Tools and Materials for Home Collectors

Even without museum facilities, you can use many conservation-grade materials:

  • Acid-free tissue paper for padding folds and delicate areas
  • Tyvek® for dust covers
  • Ethafoam for padding or lining display supports
  • Nitrile or cotton gloves for handling

Many of these can be purchased in small quantities from preservation suppliers such as Gaylord or University Products.

 

7. The Display Experience

Once your garment is safely mounted and positioned, consider the storytelling aspect. A simple card or frame with the garment’s history — who wore it, when, and for what occasion — turns your display into a conversation piece.

For added impact:

  • Use neutral backgrounds so the garment’s colors and textures stand out.
  • Employ soft, diffuse UV free lighting to avoid harsh shadows or fading.
  • Position garments at a comfortable viewing height.
  • Include information about the garment so that visitors can understand its historical value.
  • Don’t clutter the case or area around it with a bunch of signage or other artifacts. That detracts from the overall display itself.

 

8. Rest Your Garments

Please consider rotating pieces to limit their exposure to light and environmental stress. Even if you follow instructions to the T when exhibiting your items, having them on display causes them damage. There is no way around that. Limiting the time they spend on display by rotating them out with other garments still allows you to have an exhibit up, while also caring for your collection. When not on display, store them flat in acid-free boxes or on padded hangers in breathable garment bags.

 

Final Thoughts

Displaying historic clothing at home is a balancing act between preservation and enjoyment. By borrowing a few key practices from museum professionals — careful handling, custom-fit mounts, and safe environmental conditions — you can create stunning displays that protect your treasures for years to come.

Your collection is a bridge between past and present. With the right care, each garment can tell its story vividly while staying safe from harm. Check out our other archival and preservation tips here.

Angry Archivist: Cutting Up History

Posted on by Johanna Wickman

Angry Archivist: Cutting Up History

Don’t you love it when you sit down to read through a historic book and someone has cut pages out of it? Isn’t that wonderful? No? I didn’t think so. Today, I’m going on a bit of a rant on our friendly neighborhood eBay sellers who pick up historic books and then dismantle them and sell them by the page. As you may have guessed, I’m not a fan. History is nothing without context and when people are cutting up history in order to try to maximize their profit, it’s a real problem.

Angry Archivist: 55th Pennsylvania Infantry clothing ledger that has had pages cut from it. Information is now lost that is unlikely to be recovered.
55th Pennsylvania Infantry clothing ledger that has had pages cut from it. Information is now lost that is unlikely to be recovered.

Today’s example is a clothing ledger of the 55th Pennsylvania Infantry for companies H and I. Each page is dedicated to a specific soldier, and it seems the seller decided to cut out the ones that sounded interesting? I’m not really sure what the motivation was to just cut some out and not others. What makes this even more special is that this is a period Civil War handwritten ledger. This was not mass produced. In many cases, there is only a single copy surviving. And now it’s all dismantled and scattered to the wind. Thank you, random eBay seller. But at least you got, what? $20 a page? Nothing like destroying history for a cool $20.

I see this process of dismantling old books rampant in any antique books with illustrations, government books (Senate records, etc.), antique books with maps, etc. And if I’m being honest, no, I don’t care for that either, but at least in those cases there still tend to be many copies of those books lying around. It’s certainly not good and I don’t agree with it, but when it comes to handwritten Civil War ledgers of which there are likely only one or a few copies, it goes from being frustrating to flat out property destruction.

For historians, and for what we do at the Research Arsenal, context is everything with history. The story that goes with every object is what separates it from a random antique. Pickers and most online sellers tend to deal purely with antiques. They don’t care much about the stories (unless they drive up the price), they are just looking to flip merchandise for a profit. No shame in that, but when it comes to one of a kind historical artifacts that are being treated that way, I get upset. Using a far-fetched example, imagine Abraham Lincoln’s reading glasses have been safely tucked away with the descendants of a family friend. Imagine the significance those would have in a museum or an exhibit on Lincoln. Imagine what those would sell for on the open market? Now imagine you have a pair of antique reading glasses from around 1860, and you have no idea where they came from, who owned them, nothing. They become simply reading glasses from around 1860. The entire provenance is lost and therefore the history of them is lost. Now you can find them at the next antique show where their story is lost to history.

Here you can see a number of pages that have been cut out of the ledger to be sold separately.
Here you can see a number of pages that have been cut out of the ledger to be sold separately.

When you take a one-of-a-kind book and dismember it to sell it for parts, you are dismantling and destroying the value that book has as a complete book. The information that is lost when a book like this is torn apart is not easily recovered. What happens when Joe Smith buys the clothing records for ten soldiers of Company I of the 55th PA on eBay? Well, those records go to his house where they sit in a collection for who knows how long. Maybe they eventually wind up in a museum, a garage sale, an antique show, who can say. Meanwhile, a researcher now has the remainder of Company I and is missing these ten soldiers. How do you reunite that information? Even with the internet, it would be next to impossible.

If Joe Smith bought those records, digitized them, and made them available online (or at least made it known online that he has them) it would certainly help the situation. But at the end of the day, you’re still left with a dismembered book that somehow survived 160 intact until an eBay seller got ahold of it. And someone else has a stack of random pages (or a single page) from that same book.

I found this on eBay just today while writing this article. Cut out pages from a Pennsylvania clothing ledger. Did this seller cut them? Or did they find them already cut? What happened to the rest of the book? This is what happens when that context is ruined.
I found this on eBay just today while writing this article. Cut out pages from a Pennsylvania clothing ledger. Did this seller cut them? Or did they find them already cut? What happened to the rest of the book? This is what happens when that context is ruined.

And for the sellers out there, this may be shocking to you, but there are actually people would like to buy the entire book! You don’t have to wait for some distant relative of one of the soldiers listed in your book to come calling and buy the single page their great-great-great-grandfather is listed on! You could in fact, just sell the whole book! Obviously, the Research Arsenal would be interested in those sorts of records to add to the database, but you may even find local archives, universities, and museums that would be willing to purchase the entire book. Maybe try reaching out to them first, or even listing the entire book before you consider destroying it for a few bucks.

I know there are very well meaning and good hearted sellers out there who truly care about the history and this is not directed at them. There are, however, a number of sellers who are driven more by profit than respect for their history, and it’s a shame. If nothing else, please think twice before you do something irreversible and take historically significant books and destroy them by parceling them out in pieces. One that happens, it cannot be undone, and it’s a tremendous disservice to our nation’s history.

Like I’ve said before, when you come into possession of historic items and artifacts, you are not their owner. You are their caretaker. These items have existed since before you were born and if you do things right, they’ll continue to exist long after you’re gone. But, that’s the key, you have to do things right and take care of them. And unfortunately, I see some folks stumbling on that part of it.

4 Benefits of a Digitized Collection

Posted on by Johanna Wickman

4 Benefits of a Digitized Collection

Last week, we went over some tips for scanning your collection. So, you’ve gotten a scanner and digitized your Civil War era photographs, letters, and documents. Now what? There are multiple ways to make use of your digital collection, but how far you decide to take is entirely up to you. Here are 4 benefits of a digitized collection.

1. Insurance

This is something I would highly recommend for every collector, and I’ve already harped on it in past blog posts, but please consider insuring your collection with a special policy. Many, if not most, home insurance policies will require “collectibles” to be itemized and covered separately. Having your collection digitized makes it much easier to have it appraised and submitted to your insurance company. The scans also provide a record of what you specifically have in your collection should any claims arise—but hopefully they never do!

2. Originals Safely Stored

Having your collection digitized means that you can safely store fragile elements of your collection. I understand that this is not practical for many collectors as they like to see their collection on display, but for some pieces, that may not be advisable. For instance, I have a beautiful official U.S. Senate portrait with its original frame from about 1885 or so. I removed the image from the frame, scanned it, and have it stored safely in my archive. I ordered a copy of the photograph and placed that inside the frame with a new archival quality mat, as the original was acidic and crumbling. That framed photograph now hangs on my wall at home, but the original is safely tucked away with no fear of fading or other damage. And I get the pleasure of having the original frame on display without worrying about it damaging the period photograph.

3. Virtual Exhibits

Here's an example of CatalogIt's online HUB virtual exhibit as used by the Chattanooga Historical Society.
Here’s an example of CatalogIt’s online HUB virtual exhibit as used by the Chattanooga Historical Society.

This is something that can be a bit of work, but the payoff can be immense. Depending upon your collection and the size of it, curating a virtual exhibit of it can be a fantastic way to share the knowledge you’ve accumulated while gathering your collection. It can also help connect you with other collectors and researchers knowledgeable in your area of interest. To a certain extent, any time you share a post on Facebook or Instagram about an item in your collection, you are creating a virtual exhibit of a single item. However, there is software available to make collections more accessible. Whether you are using a simple WordPress site or using collection management software like CatalogIt or PastPerfect, sharing your collection with others can lead to new information, and possibly new acquisitions.

4. Sharing with Museums

This can be a bit of a sticking point with some collectors as they tend to gather things into their collections, shout “MINE!”, and then proceed to make sure that nothing in their collection ever sees the light of day. As a researcher, I have encountered this, and as a researcher, I tend to make available things that I have because I know what it’s like when you’re writing a book on something and you can’t get that last bit of information because someone has it squirreled away somewhere.

To give you an example, I have been involved with the Fort Caspar Museum in Casper, Wyoming for over a decade and the museum has been around since the 1930s. The city of Casper is named after the fort, which was named after young Lt. Caspar W. Collins of the 11th Ohio Volunteer Cavalry killed in battle here on July 26, 1865. We do not have a single adult photograph of Caspar Collins. We have one photograph of him as a toddler, and that’s it. Now, he spent much of his service with his father, Col. William O. Collins, and I think it is safe to assume that he likely had his photograph taken at some point in his service, and likely one with his father. I also think it is reasonable to assume that that photograph is sitting somewhere in someone’s collection or collecting dust in an attic. That collector may have no idea we’re looking for that photograph, and likewise, he has no idea that he’s sitting on some unidentified 11th Ohio Volunteer Cavalry trooper photograph that we could likely identify. Unless that information makes it online somewhere, we are unlikely to ever cross paths so we will continue to hope and wait that a Caspar Collins photo pops up on the internet, and that collector will continue to own that photo without realizing who it is.

I’ve also tried to track down photographs of Civil War soldiers killed while in service out here who are being honored with headstones. I’ve added 22 headstones over the last few years and only have 2 photographs. I’m sure that there are more out there—especially of the officers—but they are likely not identified, or housed in a collection with someone who hasn’t seen my Facebook posts looking for them, or worse, isn’t even aware that they have those photographs. Some collections become so large and unmanageable that it is next to impossible to keep track of everything. As collectors age and pass away, that knowledge goes with them and the collections are liquidated reducing identified soldiers to now unknowns.

The point of this larger entry is to encourage collectors to share what they have. If not literally copies of scans, to at least make themselves known to local institutions. So when a museum in Wyoming reaches out to a museum in Ohio looking for a Caspar Collins photograph, the curator in Ohio could pass our query on to someone who might possibly be able to help. Otherwise, it’s like playing a decades-long game of “Go Fish” calling and trying to find these sorts of things. Not only would you be helping these institutions, but they may also have information and items in their collections that could help you learn more about what you have and provide more context for you.

From preservation, to ease of access, to virtual exhibits, having a digital copy of your collection is priceless. I hope it’s not something that ever has to be used in the case of an insurance claim, but it will be extremely important to have in that type of event. If there is interest in how to set up a virtual exhibit, I can share some information on that topic in future posts. Just leave a comment or message us on Facebook!

How to Scan Your Collection

Posted on by Johanna Wickman

How to Scan Your Collection

This is only a basic guide on how to scan your collection. For this purpose, I’m focusing on documents and photographs. Things like maps, glass negatives, slides, etc. can be more complex and would far exceed the space I have here. But I wanted to create a basic guide with some pointers that might be helpful and I wanted to discuss file formats which is not something often covered in scanning guides.

Last week I went over some different types of scanners that can be useful for scanning documents. Both flatbeds and the CZUR overhead scanner were mentioned, but today I’m focusing on using a flatbed scanner.

Scanning Procedure for Documents

No matter which brand or size of flatbed scanner you are using, these tips will apply. The first is to make sure you have a clean glass scanning bed. It is extremely frustrating to scan a bunch of materials and then discover that there was a dirt smudge or a stray hair on the glass that is now on all of your scans! I would recommend some type of microfiber cloth or a screen cleaning cloth used for computers or phones to wipe down the scanning bed periodically. You will especially want to do this if you are working with old paper that is crumbling or dusty because each time you place a new sheet of paper on there it will probably leave some sort of dust or residue behind.

The next step is to place your document on the flatbed, close the lid, and go into your scanning software. You’ll want to make sure that it’s set to “Document” or some equivalent of that. And then you’ll want to adjust your resolution and file types. For documents, I recommend scanning at 300 dpi. You are welcome to scan at a higher resolution, but I would not scan at any less than 300 dpi. For file types, I recommend TIF files as they are uncompressed, but with document scans you may determine that you do not need such large files and go with JPGs. Still, with the low cost of purchasing external hard drives and cloud backups these days, I would recommend going with a TIF format just to maximize the quality of data you are getting in those scans.

Both of my Epson scanners have an “Auto” or “Manual” scan mode and I keep mine set on “Manual.” I’ll click “Preview” and that will make it scan the entire surface of the glass. Once I have that preview image, I’ll draw a box around what I specifically want to scan and then click scan. The “Auto” setting means you can just click scan and it will auto-detect the edges of the paper and crop your scan accordingly. However, I’ve found that lots of times it has trouble determining the edges of the paper, especially if it is very white (blends in with the cover background) or if it is torn. In order to avoid rescanning overly cropped images, I just prefer to manually set those boundaries myself.

Here you can see the file name format used by the Research Arsenal and how multiple scans of the same document are given parenthetical numbers.
Here you can see the file name format used by the Research Arsenal and how multiple scans of the same document are given parenthetical numbers.

Once the image is scanned in the folder of your choice, you will need to give it some sort of file name. This is where I will chime in again about the importance and convenience of using catalog numbers. You can name your files with those and if you have more than one scan per file number it simply becomes 001, 002, etc. So, it would look something like OVC2020.001.003 (001) followed by OVC2020.001.003 (002), and so on. This way they are all kept together and in your collection software or Excel sheet you have the description of the item connected to that catalog number.

Scanning Procedure for Photographs

To scan photographs, you would follow the same process as above, except with regards to resolution. For images, I would recommend that you scan them at 600 dpi at a minimum. Some scanners will go all the way up to 4800 dpi and other insanely high numbers, but it is not necessary to scan prints at that resolution. I have scanned many at 1200 dpi because I wanted to make sure I got the most information possible out of the scan, but when you’re working with prints, eventually you get to the point where you’re squeezing blood from a turnip. A print only has so much information on it, and once you’ve crossed into 1200 dpi or higher, you have reached into territory where there is just not any more information to be gleaned from it in a scan.

Like the documents, I highly recommend saving images as TIF files. You are far more likely to want to zoom in on an image than a typed letter and saving the file as a TIF gives you greater ability to do so. There is no point in scanning an image at 1200 dpi for high resolution and then compressing it by saving it as a JPG.

TIF Vs. JPG

In case anyone is wondering why I am harping on file formats, this why. Whenever you save in one of these formats, your file is compressed. Meaning it’s squeezed into this type of file format. JPG uses a “lossy” compression meaning that it essentially deletes bits of the data you just created in your scan in order to save it in a smaller file size. A TIF on the other hand, does NOT use “lossy compression” which results in a larger file size, but all of your information remains intact.

A JPG can be handy if you’re uploading these to the web or emailing them or posting them on Facebook. But you can always work down in file size from something larger, you can’t work your way back up from something small. For this reason, I recommend saving all your scans as TIF files and then simply making a copy of the file as a JPG if you’d like to upload it online or email it to someone. That way you still retain a high-quality version of it.

I use CatalogIt for my collection of archival materials and I make a JPG copy of my scans and upload the JPG copy to their database so that it does not take up as much room since storage is a factor with their software. I keep the larger TIF files on my computer and back up separately to the cloud.

I hope this is a handy reference and helps answer some questions about resolutions and file types when scanning documents and photographs. Have more questions about any of this? Let us know on Facebook!

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