While phones can be a distraction in the classroom, with augmented reality (AR) they can help bring lessons to life and create an interactive learning experience. By simply aiming their phones at augmented images, students can unlock the personal stories of historical figures, triggering videos and other online content (called auras). Here at the House Divided Studio, we are working to enhance our visitor experience and to model classroom applications through the use of AR. You can learn more about the various uses of AR and how to create your own free augmented experiences in this instructional post.

Downloading the HP Reveal app

To view the auras created by the House Divided Project, visitors and educators can download the free HP Reveal app, create an account and follow the House Divided channel in HP Reveal. (House Divided content won’t trigger until you follow the channel). Once those steps are completed, simply open the app, select the blue viewer square located at the bottom of the screen, point your phone at images located throughout the studio and the app generates specific video content (auras) related to those images.

Once you’ve followed the House Divided channel on the HP Reveal app, select the blue viewer button and then point your phone at an image.

The HP Reveal app’s viewer scans images with pulsating dots and triggers augmented content (auras).

An image augmented with a video about the Fugitive Slave Law of 1850.

Using Augmented Reality

Through AR, teachers can bring new experiences into their classrooms. Below are some of the most innovative uses of AR.

• Augmented Portraits – At the House Divided studio, the walls are decorated with augmented portraits that trigger brief student-produced films. At right, check out this augmented portrait of President James Buchanan (Class of 1809).  You can access all of the House Divided images with AR enhancements here at the online version of our studio.
• Handouts/Facsimiles – Reproductions of historic photos, letters and newspaper articles enable students to connect to personal stories.  Here’s an example of Lincoln’s famous Blind Memorandum from the 1864 election, augmented with a video by project director Matthew Pinsker.
• Virtual field trips –  The Google Expeditions app is already being used in schools. Google created a brief promotional video showing how students at an Iowa middle school experienced world-renowned architecture using the app. The app is free, and can be downloaded and accessed by anyone with a Google account. Google Expeditions shows virtual images of sites accompanied by longer text explanations, available by tapping the bottom of your screen. Especially in classroom settings, Google encourages the use of a Virtual Reality headset for the best experience. Students can place their phones into the headsets, known as Google Cardboard, and experience a site. The Cardboard headsets are available for around $15.

Creating Your Own Augmented Reality Experience

Augmented reality is not only an effective teaching tool, but it is also free and relatively easy to learn. Using the HP Reveal studio, you can upload images and augment them. When editing your image, you should use a variety of circles, eclipses and rectangles to mask the background of your image (see below), making faces and main objects easier for the app to recognize.

Masks hide parts of the image, enabling the app to trigger augmented content (auras).

Tips for masking images:

• Identify and mask mundane objects/spaces in the background of your image. Think of it as removing clutter so the app can recognize the image and trigger your content. For the example above, I masked the indistinct faces of the pursuers in the background, making it easier for the app to focus on the four main figures.
• HP Reveal is often color sensitive. If your trigger image is in color, a black and white version (i.e., photocopies) may not work successfully. For the best results, convert an image to grayscale and then mask it.
• Finally, make sure you save and then share your aura. If you haven’t shared your aura, it will be marked private.

After you have finished masking the image, click “Next” and upload your overlaying video or other content. Press save and then try viewing the image through the HP Reveal app to verify it works.

For more guidance on how to mask images in the HP Reveal studio, see the following House Divided tutorial.

Colorized photo of Mark Twain (Courtesy of Daily Mail)

This post is part of a new summer 2017 “DIY” (do-it-yourself) series by House Divided Project interns Rachel Morgan and Sam Weisman on how to make various types of primary source facsimiles; see posts on CDVs, stereocards, colorized photos, and letters.

On a camping trip for the first time, a student in my mother’s fifth grade class exclaimed that he was surprised the great outdoors “wasn’t all black and white”. The student, raised on video games and smart phones, thought of nature as old-timey, flat. If the vibrant colors and sounds of nature seemed “black and white” to the student, how could the black and white photograph of a moment ever connect?

You take in a black and white photograph all at once. A captivating video by Vox explains how adding a little color helps a viewer relate to the details – familiar denim pants or a cherry red Cola. Among a collection of black and white photos, just one flash of color can help students think differently about the rest. Familiar scenes from the Civil War come to life in color.

A color photograph looks like a slice of reality to the viewer, but the artist knows better. The image is an interpretation of the past: art, not reproduction. Artists run into issues if they present an updated photo as authentic and fail to credit the original artist. Professional color artists debated how to present recolored images in this insightful piece. Students should be able to recognize that the new colors are not necessarily correct. If you are going to colorize Civil War era images, and especially if you post them online, make sure to clearly credit the original photograph and explain that you modified the new one. As always, make sure the image is credited for reuse. A “before and after” comparison proves very transparent, because the viewer can compare the artists work with the original. Being open about a colorized image does not make it less teachable. Students may look at black and white images differently if they imagine the alternative colors in the scene. See some good examples of how to present such work from the coverage by the Daily Mail and here from Time magazine in 2013 when new digital technologies helped make colorizing easier.

I learned how to colorize this summer and then made my first recolored photo in about an hour . With a few simple Photoshop tricks, vibrant color photos of history can be regular features in the classroom.

The quickest way to recolor a photo is essentially one of the oldest. In the 1890s, photographers tinted sections of their photo negatives and then layered them by color. The layer technique on Photoshop imitates this “photochrom” process for a quick and easy recolor. It is perfect for classroom use but only the tip of the iceberg in the art of recoloring.

I learned how to colorize photos from this tutorial by the Photoshop Video Academy:

Bear in mind – colorization works best with a large, high-res image. Color brings out detail, and this is both a blessing and a curse when it comes to old, maybe damaged images. The best parts of the photograph will be more vivid but so will the blurry or unclear elements. Even with a high quality image, it may be difficult to decide what color to use. Shadows and camera angles can obscure parts of a picture. Your impulse may be to zoom in very close to seamlessly select parts of the photo.  This is essential, but make sure you regularly zoom out to get the big picture. Notice my subject’s left hand in the color image below. Up close, this seemed like a shadow but zooming out on the original image, I recognized fingers. Keep the original picture open in a different tab so you can flip back and forth.

From the Autobiography of Moncure Conway

I started off with this portrait. The background and lighting are simple. Also, the face and hands make up a relatively small part of the image. Human skin tones are very difficult to get right and are one of the more noticeable differences if you get them wrong. Textiles are much easier. From my experience, I find full-body images easier to recolor than facial details or group photographs.

Modified by Sam Weisman

Where possible, use historical records or period models for color inspiration. Expert color artists will obsessively research to find the right colors for their subjects’ clothes but for classroom purposes, imagination and an educated guess can still make for a convincing photograph. I had no reason to believe my subject’s shirt was red, for example. Google “Lincoln in color” to see how many different ways artists have interpreted the same portrait.

The blacks and whites in old photographs do not carry over well into color. In fact, they fall on the spectrum of gray. So, even if part of an image will remain white or black in the finished product, it should still be recolored. For example, I tinted my subject’s coat a very dark blue so the color was consistent with the richer tone of the new image.

Try to keep the colors muted. An overzealous recoloring job will stand out. Compare your work with other colorized photographs, or even modern photographs of period artifacts.

All of these details will “unflatten” a black and white photograph. Maybe a student will discover that old photos weren’t so flat to begin with. Or, like Dorothy opening her door into the land of Oz, color will reveal a new world.

This post is part of a new summer 2017 “DIY” (do-it-yourself) series by House Divided Project interns Rachel Morgan and Sam Weisman on how to make various types of primary source facsimiles; see posts on CDVs, stereocards, colorized photos, and letters.

If you mention MySpace, you just dated yourself. Believe it or not, fads in social networking gave away their times just as easily 150 years ago. “Carte de visites” (CDV) were a mid-nineteenth century phenomenon like Facebook or Instagram. These portrait cards captured the nation in “cardomania”. Photography itself dates in the United States from the 1830s and 1840s, but early daguerreotypes were expensive and rare.  By the late 1850s, the widespread emergence of printed photographic cards, CDVs, allowed friends and family to share their images with each other in relatively inexpensive ways.  They often used the CDVs to create albums that, in effect, marked the boundaries of their social network.  

This summer, I made several CDV printouts for classroom use. I found woodcut portraits and newspaper photographs to make CDVs. Then, I added some teaser introductions. When visitors enter the House Divided studio, they can pick up a CDV and find their subject in the exhibit.

I used Photoshop to make these CDVs but Microsoft Word works just as well on a budget.

Carte de visite for Napoleon III, Disdéri(1859) Courtesy of Wikipedia

Carte de visite back Courtesy of WikiCommons

How to make a CDV:

• Buy some cream colored card stock. Avoid cardboard.
• Download an image of your subject. It could be a full body portrait, head-shot, or illustration.
  • If the image is colored or black and white, apply a sepia tone filter in Microsoft Word.
• Resize the image to about 2″ by 3.5″.
• Insert a blank CDV background and resize to  2.5″ by 4″
  • Leave about 3/4″ space below the image.
• Insert a text box in the space at the bottom. Make sure it’s set to “no fill” and “no outline.”
• Add the subject’s name to the bottom of the CDV. Use a period appropriate font or write it in by hand.

Original from National Museum of American History. Modified by Sam Weisman

After the Civil War, larger cabinet cards replaced CDV. A cabinet card usually featured the photographer’s name on the front and an elaborate design on the back.

• How to make a cabinet card:
• Buy thicker card stock or thin cardboard.
• Download and resize a 5.5″ by 4″ portrait or landscape photo.
• Download and resize a 6.5″ by 4.25″ blank background.
• Find a graphic back to the card.
• Leave space at the bottom to insert the photographer’s logo.

Henry Spradley cabinet card (front) Courtesy of the Dickinson College Archives

Henry Spradley cabinet card (back)   Courtesy of Dickinson College Archives

A CDV can easily be adopted into a cabinet card and vise versa just by resizing and adding the photographer’s information.  With some period costumes, students could even make their own CDVs or cabinet cards.

The House Divided CDV display

Read more:

Harding, Colin (June 27, 2013) “How to Spot a Carte de Visite (Late 1850s – c. 1910)” National Science and Media Museum Blog

Harding, Colin (September 5, 2013) “How to Spot a Cabinet Card (1866 – c. 1914)” National Science and Media Museum Blog

The American Museum of Photography (2004) “A Brief History of the Carte de Visite” 

This post is part of a new summer 2017 “DIY” (do-it-yourself) series by House Divided Project interns Rachel Morgan and Sam Weisman on how to make various types of primary source facsimiles; see posts on CDVs, stereocards, colorized photos, and letters.

A Piece of History

In February of 1862, the middle of the Civil War, a black janitor posed with his cleaning tools, waiting to have his photo taken. In a time when many African Americans were fighting to acquire their basic right to freedom, this janitor sat calmly in front of the camera.  In comparison to the surrounding chaos of a country collapsing in on itself, this man was composed and relaxed. This photo helps to teach us a narrative of the Civil War we sometimes forget: that of everyday life in the Civil War, especially the everyday lives of employed African Americans.

The Photographer’s Objective

The man who took this photo, Charles Francis Himes, was a Dickinson College professor and well-regarded scholar. He pursued knowledge in a variety of fields, including mathematics, foreign languages, and the natural sciences. He also had a passion for the relatively new field of photography. Although Himes was an amateur photographer, he worked diligently at learning the craft. He experimented with different chemical recipes and mediums for developing and printing photos.[1] He was trying to find a way to preserve photographs for as long as possible. As an educator, Himes also understood the importance of pursuing and passing on this knowledge. He sometimes photographed texts for his students rather than use a printing press. He also photographed some historic documents and letters that he thought were at risk of being damaged over time.[2] Himes was dedicated to preserving photographs and the lessons they had to teach.

The Stereo Card

One medium of photography that Himes utilized was the stereo card. Stereo cards consist of two identical images mounted next to each other on a piece of cardstock, usually measuring 3.5 by 7 inches. The stereo card of Henry the janitor pictured to the left is an excellent example (left). When viewed through a stereoscope, these cards produce a three-dimensional image.[3] In the nineteenth and early twentieth centuries, stereoscopes were common household items. Because they were mass-produced and easily obtainable, stereo cards made useful teaching tools. Himes used stereo cards to share photos of Dickinson College and Carlisle that he had taken. Many of his stereo cards are available for viewing through the Library of Congress.[4]

Stereo viewer

Instructions: How to Make a Stereo Card Facsimile

Teachers today can utilize stereo cards as a teaching tool. Acquiring a replica stereoscope is simple: they are available on EBay for as little as $10.00.

• Purchase actual stereo cards to mount your facsimiles on. They can be purchased from EBay for as little as $1.75 each.
• Find a stereo card image you want to recreate in your facsimile. High-quality tiff images of stereo cards can be downloaded from the Library of Congress’ website.
• Make sure the image you downloaded is properly sized: 3.5 by 7 inches. This can be done with the formatting tool on Microsoft Word.
• Once the images are properly sized and printed, they can be mounted onto the stereo cards you purchased.
• If you do not have access to actual stereo cards, you can instead mount the images on a thick piece of cardstock or a thin piece of cardboard. Be sure to use a material that is the right thickness: a proper stereo card is about as thick as the cardboard used to make tissue boxes.

If you want to try and make a facsimile of one of Himes’ stereo cards, here are three PDF images, already properly sized for you to use. All images are courtesy of  the Library of Congress.

Himes Stereocard- Student

Himes Stereocard- Janitor

Himes Stereocard- Houses

Conclusion

Stereo card facsimiles were popular in the nineteenth century. Between 1854 and 1856 alone, the London Stereoscopic Company sold half a million cards.[5]. Because they were so easily accessible, stereo cards became important mediums in the fields of entertainment, education, and even news reporting.[6] Just as Himes and other photographers used stereo cards to spread information on those topics most important to him over a century ago, so can educators today.

Sources

1. Christine L. Line, “Catching a Glimpse of Forever,” Dickinson Chronicles [Web]
2. Line, “Catching a Glimpse” [Web]
3. “Stereocard Collection,” University of Washington Libraries [Web]
4. “Prints and Photographs Online Catalog,” Library of Congress [Web]
5. Lisa Spiro, “A Brief History of Stereographs and Stereoscopes,” Rice University, 2017 [Web]
6. “Stereographs,” American Antiquarian Society, 2017 [Web]

Exactly four years after he had surrendered Fort Sumter to the Confederates, Union officer Robert Anderson returned to Charleston to help once again raise the U.S. flag over the now-ruined harbor fortifications.  Following an emotional mid-day ceremony, hundreds of men and women, included dozens of notable figures like abolitionist William Lloyd Garrison, gathered on Friday afternoon, April 14, 1865 to hear the Reverend Henry Ward Beecher deliver a commemorative speech from what he memorably called, “this pulpit of broken stone.”  Beecher spoke at length about the meaning of the war, offering President Lincoln in particular his “solemn congratulations” for his “disinterested wisdom” during the long conflict and for having maintained “his life and health under the unparalleled burdens and sufferings of four bloody years.”   Yet that very night, of course, the president was shot at Ford’s Theatre.  Lincoln died the next morning at almost exactly the same time that Garrison had gone with several of the other leading abolitionists to visit the gravesite of the late secessionist John C. Calhoun.  The day before Beecher had vowed that “Slavery cannot come back.” Now, standing over Calhoun’s imposing tombstone, Garrison sternly echoed that sentiment by telling his friends: “Down into a deeper grave than this, slavery has gone, and for it there is no resurrection.”

It was yet another one of those unforgettable moments from the American Civil War, and what makes it even more compelling is that we have some amazing photographic evidence of that astonishing trip.  The War Department had sent several photographers to help capture scenes from the Sumter events and then from across the devastated city of Charleston.  These are all now in the collection of the Library of Congress. Some of these images are famous, and widely reproduced, like the ones of the four black children (in Union military garb) seated by the pillars of the city’s well known circular church:

Other images from that period are less familiar, but still vital for understanding the narrative details of this critical episode.  In particular, there is one heavily damaged image, not usually reproduced, but which shows a level of crowd detail from around Beecher’s speech unprecedented in the other images from the series.

Yet that heavily stained image (above), yields this wonderful detail (below), which clearly shows Major General Anderson, seated on the crowded platform itself, casually holding a walking stick, just to the right (our left) of the standing Rev. Beecher, who is tightly clutching the pages of his windblown speech.

Relying on this image and others from the series, we here at the House Divided Project have been busy trying to identify the rest of the notables at the event.  Most important, we are trying to figure out exactly where editor William Lloyd Garrison was seated.  His best modern biographer, the late Henry Mayer, used a detail from one of the blurrier versions of this image to claim that Garrison was probably the man in the big hat seated a few feet to Beecher’s left (our right), but the quality of this particular detail shows how unlikely that was.

We think it is far more likely that Garrison was this lean, spectacled man, standing here (right) in reflective pose after the ceremony.  In part, we believe this man was Garrison, because other images from the event suggest that he was seated behind Gen. Anderson, among other leading abolitionists, such as George Thompson, from Britain (and Garrison’s close friend), and also New York antislavery editor Theodore Tilton.  White House aide John G. Nicolay, who was serving as the president’s personal emissary to the event, was also in that section of the platform. Details from some of these images are provided below.  We also have some zoomable versions at the House Divided research engine, showing preparations, and two slightly different versions of Beecher’s speech, here and here.  The bulk of the images from that journey have been digitized by the Library of Congress, more than two dozen of them are now available online.  Check them all out and decide for yourself.  If you come across anything important, please offer your insights in the comments section below.  If you can, please help us identify any other notables in the audience.  We are especially eager to find Robert Smalls, the ex-slave and wartime hero.  Newspaper accounts claimed that the ceremony was attended by a mixed race crowd and that Smalls was present and widely celebrated –but we cannot find him, nor actually much evidence of any black presence near the speaker.

Larger version of the image with Garrison standing by pole, center

The Lincoln Pumpkin courtesy of Sarah Turpin, first grade teacher, Clemson Elementary School, Clemson, SC

Favorite Lincoln Halloween quotes:

“A house divided against itself cannot stand Halloween tricks.”

“With malice toward none, with peanut butter cups for all.”

“You can fool all the people some of the time, and some of the people all the time, but you can never get away with offering healthy treats on Halloween.”

As readers of Blog Divided are well aware, we have been fascinated by the story of Samuel and Bayard Wilkeson, a father and son who were both at Gettysburg, one as a correspondent for the New York Times and the other as a 2LT for the Union army.  The son died on the battle’s first day after being wounded by an artillery shell and after amputating his own leg.  The father discovered his son’s body on July 4, 1863 following more than a day of intense searching.  Then he wrote a passionate, angry account of what happened for the New York Times, which closed by resolving that the dead at Gettysburg had “baptised” with their blood, the “second birth of Freedom in America.”  President Lincoln knew the Wilkesons. The story of the family’s tragedy echoed across the North during the summer of 1863.  So the connection to Lincoln’s famous phase in the Gettysburg Address, “a new birth of freedom,” seemed overwhelming, intentional, and eminently teachable.  We first posted about the story of the “Angry Father” in July 2010, but then followed up with more details in the summer of 2013, here and here.  I spoke about the Wilkeson family during the 150th anniversary commemorations for the Battle of Gettysburg and have been featuring the story in numerous K-12 workshops during the last five years, typically through this handout.

Matthew Pinsker from Gettysburg Foundation on Vimeo.

But there’s been one nagging concern that we just have not yet been able to fully resolve.  What exactly did Sam Wilkeson look like?  The problem is that there are multiple images attributed to him but they don’t seem to align properly.  I brought this up at the final seminar session of the “Understanding Lincoln” open, online course and asked for help, in true “class-sourcing” fashion.  Remarkably, within a few hours, I got a very helpful lead from course participant Martha Bohnenberger, a social studies teacher from South Carolina.

Here is the problem that first disturbed me in the summer of 2013.  The House Divided Project has been using this striking 1859 image of Sam Wilkeson (on the top left) taken by Alexander Gardner, discovered and cleaned up by project co-founder John Osborne, courtesy of the online collections of the Smithsonian American Art Museum.  Yet the Buffalo News profiled the Wilkesons this past summer because the family were Buffalo natives  and they used the image on the top right –clearly not the same person– to represent Sam Wilkeson (undated, no source citation).  I presume they obtained this photograph from the Buffalo History Museum, but I haven’t yet tracked it all down. By the way, Buffalo was a nineteenth-century city partly founded by the grandfather in this story, Judge Samuel Wilkeson, Sr., who had hailed from Carlisle, Pennsylvania, where Dickinson College is located.  However, there is even more about the image to consider.  The Gettysburg National Military Park features the story of the Wilkesons inside their main museum experience at the Visitor’s Center, but they use an entirely different image reportedly of newspaper correspondent Sam Wilkeson, which they credit to the National Archives (on the bottom left).  Meanwhile, Martha Bohnenberger discovered this illustration (bottom right) in the New York Sun from December 3, 1889 as part of an obituary for Wilkeson –read it, he led a truly remarkable life– by doing some shrewd online research at the Library of Congress site, Chronicling America.  Again, it’s different.

Sam Wilkeson (Smithsonian)

Sam Wilkeson (Buffalo News)

Sam Wilkeson (Archives)

Sam Wilkeson (New York Sun)

Now, I am not willing to bet my tenure on this, but I think that the Smithsonian Wilkeson (1859) is the same as the New York Sun Wilkeson (1889), just bearded in that latter illustration.  The lines of the face, however, strike me as almost identical.  But I don’t quite know what to make of the National Archives Wilkeson or the Buffalo News Wilkeson.  The image quality isn’t quite good enough for me to decide, but they seem (especially the Buffalo Wilkeson) to be a different person (and probably different from each other as well).  What do you think?  There’s certainly more researching and phone calling to do, which I haven’t yet accomplished, but I appreciated the quick extra help from my class-sourcing exercise the other day and would like to continue to seek help if others would provide it.  Feel free to comment here and leave your opinion, or contact me directly by email (pinskerm@dickinson.edu) to share any insights.

One hundred fifty years ago today the New York Times reported that Confederate forces had retreated from Harpers Ferry to Manassas, Virginia. Harpers Ferry, which was home to a federal arsenal and the target of abolitionist John Brown’s raid in October 1859, “[was] not a position to hold against a powerful enemy.” Instead, as the New York Times explained, the location was “an admirable trap into which one may be decoyed to be annihilated.” The New York Times speculated that the Confederates had left only “long enough to see the approaching army of the West fairly caged, and then, reoccupying the surrounding heights, have every advantage in the work of slaughter.” As the Confederates retreated, they also destroyed bridges and buildings. The New York Times reflected on what those actions meant in terms of the differences between the Confederate and Union armies:

[Confederates] destroy bridges, tear up railroads, overthrow canal dams, and mark their retreat by so many wanton acts of the same character, that the idea of their being acts purely protective and defensive is inadmissible. The Northern troops, on the contrary, bring order, skill and civilization with them. It is for them to relay the displaced tracks, repair the disabled engines, rebuild the burnt bridges, erect the overthrown workshops, restore the damaged canals ; in short, to replace the malicious mischief of an enraged barbarism, with the splendid resources of civilization.

You can learn more about Harpers Ferry in Chester G. Hearn’s Six Years of Hell: Harpers Ferry During the Civil War (1999) and Dolly Nasby’s Harpers Ferry (2004).

One hundred fifty years ago today the Charleston (SC) Mercury published part of New York City Mayor Fernando Wood’s speech that he gave during President-Elect Abraham Lincoln’s visit in late February 1861. Lincoln had left his home in Springfield, Illinois on February 11 for Washington DC. On the way he stopped at a number of cities, including Albany, Cleveland, Columbus, Indianapolis, Pittsburgh, and Philadelphia. While Lincoln arrived in New York City with his wife on February 19, he did not meet with Mayor Wood until the afternoon of February 20. The Charleston (SC) Mercury described “Mayor Wood’s address of welcome to the Abolition President” as “too good to be lost.” As Lincoln entered “office with… a disconnected and hostile people to reconcile,” Wood told the President-Elect that “it will require a high patriotism and an elevated comprehension of the whole country and its varied interests, opinions and prejudices to so conduct public affairs as to bring it back again to its former harmonious, consolidated and prosperous condition.” In addition, Wood warned that “[New York’s] material interests are paralyzed” and “her commercial greatness is endangered.” Yet Wood also supported southern Democrats and he wanted the crisis to be resolved through compromise. Wood noted that he expected Lincoln to use “peaceful and conciliatory means” to ensure the “restoration of fraternal relations between the States.” Lincoln responded the same day to Wood’s remarks, noting that “there is nothing that can ever bring me willingly to consent to the destruction of this Union.” The following day Lincoln left for Trenton, New Jersey. You can read more about President-Elect Lincoln’s journey from Springfield to Washington, DC in Harold Holzer’s Lincoln: President-Elect (2008).

On July 13, 1865 P. T. Barnum’s American Museum in New York City burned down and the Lost Museum’s interactive online exhibit allows you to figure out who is responsible for the crime. Before you start the investigation, it helps to watch the video introduction or at least read this overview of the exhibit. (You can also just skip the mystery part and explore the 3-D museum). The American Social History Project at the City University of New York Graduate Center launched the site for use in the classroom and teachers can pick from a number of different activities, such as “The Path to War?,” “John Brown, Violence, and Social Change,” and “The Debate Over Women’s Roles in Public.” In addition, the Lost Museum Archive has a number of different types of primary sources available – these include those related to the “Sectional Crisis,” “Amusement Devices,” “Civil War in New York City,” and “Tom Thumb.” The essays are also important since they help put Barnum’s museum in context – see especially “Barnum’s American Museum,” Ann Fabian’s “Women in P. T. Barnum’s New York City,” and Peter G. Buckley’s “Urban Popular Culture in the Age of Barnum.” Each essay includes links to relevant primary sources. This website was produced in collaboration with the Center for History and New Media at George Mason University, which created other digital history resources such as “Exploring U. S. History,” “Virginia 400,” and “Historical Thinking Matters.” You can learn more about the city in Ernest A. McKay’s The Civil War and New York City (1990).