Gross! What Are They Doing? Latrine at the Fredericksburg Power Canal? A Not So Pleasant Consideration.

Early this morning, while looking through a digital collection of Civil War images from the National Archives, I found a curious detail that I don't recall noticing before. The NA images are scanned at only 300dpi, far less than the Library of Congress Collection, but being originally 8 X 10 glass negatives, there is still a good bit of detail to ponder when enlarged. The particular photograph I examined is the left half of a well known panoramic pair (taken in May 1864), showing the notorious open plain at Fredericksburg. Looking along the left middle ground I traced the water power canal that had served as an obstacle in the Union's December 13, 1862 assault of Marye's Heights. Near the left side of the image there appear to be at least seven and perhaps up to nine or ten soldiers (one has to assume), most in shirt sleeves, probably attending to the call of nature or are about to. It seems like a rather remote location, some 180 yards distance from the camera, which was in the yard of the house known as Federal Hill on Hanover Street. Please, click directly on the image to enlarge for greater detail. I have placed markers over the seven most possible figures.

We can not know if these are wounded men from a nearby hospital or if they are simply men stationed in town, but they do appear to be there. I could be wrong in suggesting they are at toilet, but one figure, sixth from the left, looks to be squatting in the recesses of the ditch. In fact, three in the image appear to be squatting while two others at least look like they are about to or are standing back up. Their random positions make it very curious. The fourth and possibly fifth figure from the left look as if they are standing, looking at the camera, possibly.  The fifth figure looks also to be wearing a jacket, or a dark shirt. If this is indeed depicting a toilet area, with such random positioning of those using it, it must have been a horrible place to venture to, full of sickening potential for missteps. The full image is seen below. Please click directly on the image to enlarge.

I'd like to credit National Park Service historian Noel Harrison for providing the link to this collection of National Archives scans. It is available to examine at the link provided here.

My Newest Book - Released Today - Spotsylvania County

I would like to let my readers know that today is the official release date of my latest book, Spotsylvania County, published by Arcadia Publishing of Charleston, South Carolina. If you live in the Fredericksburg/Spotsylvania region it will be available in many local outlets. I will be doing signings over the 4th of July weekend, at the Spotsylvania Courthouse area and in downtown Fredericksburg. Also, if you are local and would like to pick up a copy ahead of time, or reserve one from the stock I have on hand, please send me an email. I have also included a direct link to order from my publisher at the right hand side of the blog. I have included over 200 images, many never before seen in book form. 128 pages. The retail price is $21.99.

Highlights from the book include:
1. The story of the formation of the county and its namesake Alexander Spotswood.
2. Photographs of structures no longer standing in the community.
3. Photographs of structures that have withstood the test of time and war.
4. On-site sketches by newspaper artists that witnessed the Civil War’s battles and their aftermath.
5. Photographs of local citizens that endured the hard times of post-war recovery.
6. The story of the memorials placed to honor those who fought here.
7. Highlights of the formation of the National Battlefield Park.
8. The local experiences of the Civilian Conservation Corp during the Great Depression.
9. Visual reminders of the Civil War still impressed upon the landscape.
10. Preservation efforts and the regional approach to good stewardship of historic and cultural resources.

The book is an honest assessment of a community dealing with a historic past not so warmly embraced. The Civil War was a debilitating, horrific period that left the region deeply scarred, socially and economically. To this day the County hesitates to commit resources toward encouraging tourism as a viable means of generating revenue.

Here is my author's bio from the new press release:

John F. Cummings III, 50, is originally from Fairfax County, Virginia, where he developed a lifelong passion for history, particularly the Civil War era. He moved to Spotsylvania in 1999 with his wife Karen, living on land that saw action during the Overland Campaign of 1864. Before moving south, John had worked as a Loss Prevention Auditor for a major DIY retailer in the National Capital Region.

A researcher and writer, John’s specialty is image analysis. His work as a visual historian has been published in national and local publications.

John was a member of the former Spotsylvania Courthouse Tourism and Special Events Commission, and serves as chair of the Friends of the Fredericksburg Area Battlefields, providing assistance to the National Park Service through support of educational programs, films and publications.

John spent his first decade in Spotsylvania documenting the local efforts of preservationists during one of the most active periods of battlefield encroachment by developers. He has witnessed the County government attempt to strike a balance between good stewardship and respect of personal property rights, all the while trying to maintain a sufficient tax base.

Computer-Aided Forensic Facial Comparison Removes Doubt of Alsop Image

After much speculation and debate, there seems to be an answer in the case of the "Susan Alsop" photograph discovered in the attic of the Alrich house in Spotsylvania. See the original post here. Is this an early portrait of Susan M. Read Alsop, widow of James Addison Alsop?

I would have to give an emphatic "Yes" based on caparison to a known post-war portrait kindly supplied by Alsop family genealogist Jerry D. Alsup. Jerry is currently working on volume three of his monumental family study, Alsop's Tables. The first volume was published in 1986 with the second volume following in 1994.

This identified image shows Susan M. Read Alsop sometime in the 1880s based on her clothing. She would have been in her 40s during that decade. The earlier image of which we have been uncertain shows a young woman dressed in the fashion of the 1850s. Susan M. Read Alsop was born on September 25, 1840.

I took both images and produced a superimposition to compare facial features. I was delighted to see an easy comparison of the craniofacial landmarks. At 50% transparency it is clear that there are no readily apparent deviations in the placement of the eyes, nose and mouth, suggesting very strongly that they are of the same woman with perhaps a separation of three decades. Both images even show a possible asymmetry of the nostrils, her left appearing larger than the right.

The only remaining questions regarding the older image would be as to how long prior to her marriage to James Addison Alsop was it taken, and who may the image be in her broach? One thing is probably most certain is that this was not an image of her in mourning following James' death in December 1860.
There is also the question as to how she was related to the Alrich family? Her son, John Addison Alsop had been married to Florence Chartters, a relation to the Chancellor and Leavell families. Hopefully the connection will become apparent soon.

"Sue Alsop" Photograph May Not Be Actual "Widow" Alsop of May 19, 1864 Battlefield

See the more current post above that removes the doubt expressed here. The woman in both images is Susan M. Alsop, more famously known as "The Widow Susan Alsop".

Second update: An Anonymous comment to this post, added 12/4/2011, points out the widow Alsop's obituary in the Daily Star, December 6, 1915. That obit clearly states that she died  "peacefully at the residence of Mr. S.R. Alrich". This may indeed be a clue as to the connection with the Alrich family. That clue had remained embarassingly unobserved by your blog host until this anonymous tip. An immediate assumption would make this "Mrs. S. R. Alrich" to be Annie, the wife of Samuel Alrich, but his middle intitial was "W" according to census records. Those fine details remain still uncertain, but there is now a good indication that Susan M. Alsop was at least a friend of the Alrich family, possibly considered an "Aunt", as many times older friends of a family are called "Aunt" or "Uncle" by children even if there is no blood or marriage connection. We shall persevere.

After a good deal of consideration, I am more and more suspecting that the image from the previous post, despite many people's hopes, is not THE Susan Alsop. My major concern continues to be how it would have become part of the Alrich family collection of memorabilia. So far there is no readily apparent family connection. With many factors to bear in mind, this photograph may actually be of Susan Jane Beazley Alsop, from the other side of the battlefield. This would account for the 1850's clothing more easily than it being Susan M. Alsop.

More if and when we can determine something.

Is This The Widow Susan Alsop? A treasure from the attic.

     When retired museum professional Terry Dougherty entered the attic of the Alrich house near Spotsylvania Courthouse, he knew he had stumbled upon a goldmine of Spotsylvania genealogical material. Last summer, Dougherty paid a visit to the house and Alrich descendant John Alrich-Altman. The majority of the home's contents had been sold off in an estate auction in June, but the attic had remained untouched and as it turned out, packed with an archive of historical images and memorabilia of the family. Many of the items are now on temporary loan to Spotsylvania County for a museum exhibit being prepared by Dougherty as a volunteer to the County. It is a Herculean effort, but one that Dougherty relishes. The display is scheduled to open in late May of this year in the Courthouse Village government office building.
     Perhaps one of the most intriguing finds was a photograph with the inscription, "Sue Alsop, Old Aunt, a lovely Christian woman". Immediate speculation is that this is a photograph of the matron of the Alsop Farm of the May 19, 1864 battle fame. Susan M. Alsop was only twenty-one in December 1860 when her husband James Addison Alsop died from the effects of a carriage accident. Susan and her six month old son, John, continued to live on their Spotsylvania farm, witnessing the horrors of battle virtually on the threshold. Susan lived out her days there until she passed in 1915. This copy of the photograph may in fact have been made as a memorial keepsake for family members in 1915 as it is an enlargement of the 1860s period original, mounted on a "cabinet card stock", typically done after the turn of the century for such purposes.

The image of "Sue Alsop", enhanced and restored from a

scan of the original by John F. Cummings.

The inscription on the back is shown below.

     The interesting features of the photograph are the trappings of mourning etiquette that the woman is wearing, which taken by themselves are supportive of this being the "Widow Alsop". She is wearing a photo broach of her deceased husband, pinned to her collar, a tradition of Victorian era mourning practices. Considering that the collar is white, this indicates that the photograph would have been made after the end of "Full Mourning", which was to last for a year and one day. In full mourning the widow was required to wear all black for the entire period. After entering second stage mourning, a widow could add some color to her clothing, usual a white collar and cuffs. This being second stage mourning would indicate that it was taken no earlier than late December of 1861. Considering the distance to photographers in Fredericksburg from her Spotsylvania home, it is even likely that the photograph was made in early 1862 with the arrival of weather conditions more hospitable to travel on country roads.

     It should be noted that the hairstyle this woman is wearing is typically that of the 1850s era, a style consisting of padded wings over the ears. If this is indeed THE Susan Alsop, widow of James Addison Alsop, one has to consider that she is wearing a hairstyle that would have been out of vogue by the early 1860s. This does not mean that she could not have opted to continue this style, but typically a young woman as she was then, approaching 23, would have been more inclined to keep up with fashion of the day.

     Further scrutiny will be required of this and the hundreds of other images found in the Alrich attic. We are fortunate that they have survived to provide a window into the county's past.

The south western exposure of the Alrich home,

(Dabney house during the Civil War), and the lone attic window.

Photographed June 5, 2010 by John F. Cummings.

Stafford Post of April 2: Technical issue with images is fixed.

For some reason, the images in yesterday's post on the Review Site in Stafford County were displaying square, thus they looked compressed. I have corrected the problem and they should be easier to look at on the blog page now. They are still clickable for enlarged viewing.
Thank you for visiting the Spotsylvania Civil War Blog.

A Look at Lincoln's April 8, 1863 Review of the Troops in Stafford County: By Request

     In January and early February, NPS historian Noel Harrison made two in depth posts at Mysteries and Conundrums, the first here, and the later one here. Noel and I exchanged thoughts regarding the location of the sketch by newspaper artist Alfred Waud, seen below. Please read the articles over at Mysteries and Conundrums to get the whole gist of this discussion. In February, Noel graciously asked if I would post more details on my thought process of interpretation via the Spotsylvania Blog, so now, after many other distractions have been dealt with, I will now provide my thoughts on what I believe we are seeing in this image. First, I have to point out that I hold Alfred Waud in high regard as an artist and firmly stand by his abilities to  translate what he saw to paper, especially with regard to landscapes as will be the strongest part of my argument here.

     At this point, to avoid repetition, I will simply use the images below to provide my premise. The first image is the original Waud sketch. Please click on any image presented here for larger viewing.

     Waud's sketch had to have been drawn from an elevation such as a signal tower near headquarters. Waud was not in the habit of presenting  false, elevated views such as those Edwin Forbes was inclined to do in his work.

    The sheer number of troops involved in this presentation would have required them to be formed by Divisions, in columns of Brigades. If they had been formed with an entire Division front, each front would have stretched about a mile in length based on mid war regimental strengths. A mile long line could not have moved in a graceful parade formation with any ease, as was described and praised in accounts of this review for the President.

Relative placement of modern roads against Waud sketch.

Satellite image indicating roads and landmarks relative to Waud sketch. The blue lines seen along Deacon Road demonstrate the Divisions formed by columns of Brigades. A newspaper account describes the area as having been cleared of most trees for the occasion as well as the bridging of water obstacles. This facilitated the fluid movement of the large masses of troops. The Review could not have been conducted in a smaller area than what is presented here. These observations are important toward the historical understanding of the site, otherwise lost within the residential development that has covered the once larger tracts.

Please do enlarge this one so that the annotations are legible.

View across the modern neighborhood from the yellow X indicated above.

Closer view of hill at left from which the Lincoln entourage watched the

 review, as indicated in the satellite image by the green X.

Placing Some of the Dead at Widow Alsop's

     Note: All images can be clicked for larger viewing.

     Certainly, any battlefield photograph that shows the dead in situ has intrigued the public ever since Mathew Brady first displayed images of the dead of Antietam at his New York gallery in October 1862.

     The May 20, 1864 images of Confederate dead on the Susan Alsop farm in Spotsylvania are a prime example, and have been most engrossing. For the twelve years I have lived near the site, and have studied Timothy O'Sullivan's series, I have been hopeful that I could make some solid determination as to where at least some of the images were made. The first obstacle in doing so was the uncertainty as to the precise location of the Alsop farmhouse. National Park Service Historian Noel Harrison and I have pondered this over the years  and together have become fairly comfortable with an approximate location. Only one image in the series had clearly specified that it showed the house and a small barn/stable, nearby. Using the official government map produced in 1867 by Nathanial Michler, I compared the terrain features depicted and found what seems to be the most logical match against a modern topographic map. Working with the Michler map, one has to be aware of the potential for distortions which occur when an individual surveyor's notes are married to a fellow surveyor's set. As an illustration, sometimes a farm field would be included by both men in their individual surveys, and instead of overlapping, the area is mistakenly plotted twice on the compiled map. One area of clear distortion is unfortunately within the sector of the Alsop and neighboring Peyton farms, making a simple overlaying of period and modern maps impossible. Fortunately, once the pattern of the distortion is recognized, one can compensate for the problem and adjust as needed. This has allowed for a reasonable placement of the house upon the modern landscape, one which we will examine later in this post.

     Another image in the series, taken prior to the one above, depicts two of the Confederate dead nearby on the property. The soldier immediately behind the pile of fence rails is clearly the same body as the one on the stretcher as was indicated by William Frassanito in his 1983 book, Grant and Lee, The Virginia Campaigns, 1864-1865.

     A long overlooked yet vital clue as to the relationship of this image and the one of the Alsop house, is seen in the upper right of the horizon line. There, though not in sharp focus, appears to be the west exposure of the Alsop house, along with the surrounding trees that are readily discernible from the full house image.

An enlarged detail of that portion of the photograph shows the

open window at right, and the surrounding trees of the home's western

 face, making this approximately 80 yards to the east of these bodies.

In the detail below, note the window and row of fanlike trees within the

 fence, as well as the larger trees inside the field. The tree on the left edge

 below is the tree at right of center in the above detail.

Below is my hypothetical interpretation of these images placed on the landscape.

The tree line to the north of the property is most likely where the original

 image caption, "Scene at Mrs. Allsop's Pine Forest", was derived. When

viewed in stereo, there appears to be a sunken lane between the fence and

the woods, but I have opted to leave this possible feature out of my drawing.

Based on this hypothesis, here are "then and now" comparisons.

Set One: Looking East From "A"

Set Two: Looking North East From "B"

Over at the F&SNMP's "unofficial" blog Mysteries and Conundrums, Chief Historian John Hennessy has recently weighed in on his interpretation of the Alsop Farm images. You can read that here, at this link.

A satellite image of the area involved as it looked in 2009.

Note: The roads seen in this view are modern driveways with no historical significance,

and have no correlation with the farm lanes I have indicated in my diagram.

BE AWARE: all of this property is privately owned.

Please respect the owner's right to privacy.

Building the Spotsylvania Exhibit Shelter: Mission 66 - A Then & Now Look

In preparation for the fiftieth anniversary of the National Park Service in 1966, the Department of the Interior implemented a ten-year program of enhancement projects designed to improve the visitor experience. The program was dubbed "Mission 66." Among these tasks were the construction of modern interpretive facilities, replacing the rustic Contact Stations of the CCC era. In the Fredericksburg & Spotsylvania National Military Park, two new Visitor Centers and three Exhibit Shelters would be constructed to coincide with the anniversaries of the battles they'd interpret. The Chancellorsville Visitor Center was set to open on the first weekend in May, 1963. By July of that year, construction was underway for an exhibit shelter on the Grant Drive entrance to the Spotsylvania unit. By the end of April, 1964, the shelter was nearing completion, in plenty of time for the hundredth anniversary of the Spring Campaign of 1864.

This September 1963 photograph documents the pouring of the concrete floor and patio of the Spotsylvania Shelter. It was built on a substantial cinder block foundation with brick walls and a heavy steel framework that emulated residential architecture of the day. The roof had four skylights to provide additional ambient light to the open air design.

Approximate same view in February 2011.

 Prior to the installation of wire mesh to the open gable ends of the rafter

system, workers are seen here applying a clear sealer coating to the

natural wood ceiling planks inside the interpretive area.

Over time, the natural wood look was replaced by a heavy coating of

white paint, providing durability and easier maintainance. Note the

 skylight and wire mesh enclosed gable end.

                   On April 28, 1964, the interpretive display panels were being installed.

                       This approximate view of the same corner shows updated panels

and more engaging graphics installed around 2004. There is a continuing

 effort to enhance the visitor experience. Photo taken February 22, 2011.

                   In another April 28, 1964 photograph by NPS historian Ralph Happel,

Peder Kitti and Frank Philips of the Department of the Interior's Branch

of Museums, prepare hardware for the mounting of the interpretive panels.

They were assisted by Freddie Paytes of the F&SNMP maintenance department.

Note the accordian style, gate enclosure for the shelter, rarely if ever, used today.

Approximate same view, February 2011.

The one-hundredth anniversary of the National Park Service will be celebrated in 2016. 

Black and white photographs seen here are from the files of the F&SNMP.

Color photographs copyright 2011 by John F. Cummings III

Earthwork Preservation and Protection: Lessons of the past in consideration of the future.

The Civil War Roundtable of Franklin, Virginia, on November 12, 1957, stand posed directly on the Bloody Angle, at the point where the Union line is conjoined with the Confederate parapet. To the left of the group is NPS historian, Ralph Happel, who had served as their guide at the adjacent contact station, not visible in this image. The view is looking east, along the face of the Salient. Note the large cedar tree looming immediately to their backs at right. This photograph is from the archives of the F&SNMP.

The same spot, fifty-four years later. The Bloody Angle is protected  from most intrusive pedestrian incursions by virtue of this wooden bridge, due to be removed at some point in the very near future. Previous posts on this blog, here, here, and here, have covered the construction of a new bridge futher down the line. Note the stump of the large cedar tree at right middle, immediately to this side of the bridge. The cedar was removed a few years ago to help restore the unobscured vista of the Bloody Angle, to that which the soldiers would have experienced. The cedar tree had been planted in the early days of the park as an ill-conceived landscaping measure, one of the conflicts of "battlefield park" versus "natural park" philosophies.

Sparingly placed, so as to to be themselves non intrusive, signs such as these are designed to instill a discipline within the visitor to be mindful of the resource's delicate condition. Sadly, this does escape the consciousness of many, and on a daily basis a casual observer will witness numerous, shocking examples.

The question for the future must now be, "Will the park visitor dutifully follow the new trail system, or will they feel unflinchingly compelled to veer from the path and walk on the earthworks?" The future will tell.