Great Lakes Maritime History Project

Image
Photo, Crew standing on the shipwrecked George M. Cox, May 1933
Annotation

Dedicated to recording the maritime history of Wisconsin (especially Lake Michigan and Lake Superior), this site features more than 7,000 documents, advertisements, and photographs of ships associated with Wisconsin waters since 1679. Geared toward the specialist as well as the beginner, the site contains a list of the more than 400 ships registered in Wisconsin over the years, as well as useful descriptions of the types of ships.

The collection is searchable by keyword and browsable. The quality of the photographs varies; some are small files, while others are quite large. The site recommends six related outside resources. This site would be very useful to anyone interested in the history of Wisconsin maritime shipping, passenger cruises, or naval history.

Film Review: Pearl Harbor and U-571 bhiggs Mon, 11/21/2011 - 11:44
Date Published
Image
Photographic negative, One Day After Pearl Harbor, Dec 1941, John Collier, LOC
Article Body

What constitutes the limits of dramatic license in fictional motion pictures set within the framework of a historical event? Filmmakers have regularly argued that the need for drama always outweighs the need for plausibility and historical accuracy. Audiences have generally bought the argument, as have the filmmakers themselves. Does it matter that Steven Spielberg portrays the Pentagon receiving word of the death of two Ryan brothers on Omaha Beach within two days of D-Day? Does it matter that a German fighter plane flew to the vicinity of Greenland as shown in U-571? Does it matter that Jimmy Doolittle and his raiders never flew in formation during the attack on Tokyo as shown in Pearl Harbor?

But does falsifying or fabricating events add to the drama, or is good drama incompatible with truth?

Who cares? After watching U-571, one person said, “If I want to see the truth, I will watch PBS.” But does falsifying or fabricating events add to the drama, or is good drama incompatible with truth? Clearly painting the name Enola Gay on the wrong side of the fuselage in The Beginning or the End (1947) and Above and Beyond (1952) adds nothing to the drama of Paul Tibbets's mission to drop an atomic bomb on Hiroshima. Does the mistake matter? On the other hand, portraying Tibbets as feeling guilty for carrying out his assignment, as Above and Beyond clearly does, falsifies history. Do the directors' justification that they could not show an American officer in 1952 willingly killing 80,000 people suffice?

Jonathan Mostow, director of U-571, claimed he was making a fictional story, not a documentary, about life aboard a submarine during the battle of the Atlantic and therefore he did not have to portray history accurately. Nevertheless, the British immediately took offense, claiming he was turning the Royal Navy's capture of an Enigma machine from a German submarine in 1941 into an American heist in 1942. Mostow denied he was doing this, pointing out that the British used a destroyer while he used a submarine. With U-571, the problems had less to do with history than with plausibility. The Germans did fly four-engine patrol planes over the North Atlantic but certainly not single-engine fighters. Whether an American submarine disguised as a German submarine might capture a U-boat might not be too farfetched, at least as portrayed in the movie. But having a second German submarine, in the dark of night, in a driving rainstorm recognize what was happening and figure out which one to torpedo stretches credibility beyond any realistic limits. Likewise, having the American boarding party know how immediately to start the disabled German submarine and get underway strains believability. Worse, submariners have attested to the virtual impossibility of one submarine torpedoing another submarine when both were submerged with the technology available early in the war.

U-571 remains probably the most exciting submarine movie ever made. Nevertheless, the factual and historical errors in the film prevented the director, Mostow, from fulfilling his goal of providing the contemporary generation with any real sense of life aboard a World War II submarine. His response to critics of the film: “Hey folks, it's only a movie.” In contrast, producer Jerry Bruckheimer and director Michael Bay tried to have it both ways with Pearl Harbor. On one hand, both men claimed they were making a fictional movie using the historical events only as the stage on which to create a love story. On the other hand, Bay predicted before the start of production, “You will see what happened at Pearl Harbor like you have never seen it in any other movie. Our goal is to stage the event with utmost realism.” He claimed that he wanted his Pearl Harbor movie to become one “by which all other films are measured,” dismissing Tora! Tora! Tora! (1970) as being “more of a documentary.”

To achieve these goals, Bay and Bruckheimer claimed to have read extensively in the histories about Pearl Harbor and to have interviewed many Pearl Harbor and Doolittle raid survivors. Noting that everyone had his or her own memories that did not always agree with others' on particular aspects of the Japanese attack, the filmmakers felt their re-creation was as valid as any of the recollections.

Pearl Harbor is a fictional tale crafted from a kaleidoscope of real life personal experiences of those living through this terrifying tragedy.” The operative word is “fictional.”

Of course, all memories are created equal, but some are more equal; where truth conflicted with drama, Bay and Bruckheimer chose to go with the drama, claiming they had captured the essence of what had happened on December 7. In fact, “essence” remains a very subjective term that can conceal a plethora of sins. One of the trailers for the film perhaps said it best: “Pearl Harbor is a fictional tale crafted from a kaleidoscope of real life personal experiences of those living through this terrifying tragedy.” The operative word is “fictional.” So little of what appears on the screen bears even a remote resemblance to actual events leading up to the attack on Pearl Harbor, the actual attack, or the aftermath, including the Doolittle raid, that audiences come away from the film with no real understanding of what happened and why. If the film's title had remained “Tennessee,” the original code name Disney gave the project to hide its actual subject, Bay and Bruckheimer, like Mostow, could have hidden behind the claim that they were only making a dramatic movie, not a documentary.

Historians have to be careful to criticize the elephants, not the ants, when discussing the dramatic license filmmakers take in their movies.

However, the title Pearl Harbor and Bay's predictions about what he intended to do strongly suggest the film is providing a reasonably accurate account of what happened on December 7. Historians have to be careful to criticize the elephants, not the ants, when discussing the dramatic license filmmakers take in their movies. But audiences have to know little or nothing about Pearl Harbor to recognize the errors or fabrications. In view of the recent attention given to President Franklin D. Roosevelt because of the dedication of his memorial, most people understand that he simply could not stand up unaided, as happens in the movie.

Likewise, since the movie portrays the growing tensions between Japan and the United States and relates at least superficially the plans for the attack on Pearl Harbor, audiences are going to wonder how one of the heroes could manage to get permission to fly his P-40 over Pearl Harbor at dusk. While Bay commented with pride about the film's signature shot of a bomb falling slowly downward toward the Arizona, people recognize the hokiness of the sequence even if they do not know that the battleship was hit after the Oklahoma, not before, as portrayed.

In fact, the reviewer has compiled a five-page list of “flaws” in Pearl Harbor. Do they matter? Only to the extent that truth itself matters. For most historians the liberties the filmmakers took with the facts render Pearl Harbor useless as a tool to teach students about the Japanese attack. From the Japanese perspective, however, the film has a significant upside. Most people went to see Pearl Harbor for the love story and the explosions and so left the theater without any significant antagonism toward those friendly people who brought the United States into World War II and later began making fine cars, cameras, television sets, and video recorders.

Bibliography

This review was first published in the Journal of American History, 88 (3) (2001): 1208–1209. Reprinted with permission from the Organization of American Historians (OAH).

For more information

To browse all of Teachinghistory.org's materials on Pearl Harbor, try our spotlight page: In Remembrance: Pearl Harbor. (Browse our full selection of spotlights on historic events and commemorations here.)

U.S. Coast Guard

Article Body

The United States Coast Guard, one of the five U.S. military branches, protects the environment and U.S. citizens, economic interests, and security in the world's oceans and bodies of inland water. Specific duties include rescue operations and maritime law.

The Coast Guard's home on the web is certainly not the easiest to navigate of the Armed Forces sites. However, it does contain a noteworthy amount of content which could be put to use in the classroom, particularly background information for teachers or for student reports.

Items worth your attention include a Coast Guard blog with posts on the organization's history; a list of Coast Guard historical events, organized by day of the year; overall and regional history overviews, most in the form of PowerPoint presentations or articles; and histories of Coast Guard assets, missions, and personnel, including women and minorities.

Primary sources are also available in abundance. These include oral histories divided by theme and military engagement, back issues of official magazines, a selection of documents dating from 1791 through the late 20th century, and galleries of historic photographs. The photographs can be compared to recent images and artworks located within the Coast Guard multimedia gallery. Of the magazines, the majority offer back issues from the 2000s. However, The Reservist offers issues dating as far back as the 1950s.

If you are looking specifically for children's activities, check out "Just for Kids (and Teachers!)", which offers coloring books, information on animal mascots adopted by various Coast Guard units, teacher's guides for lighthouse and Coast Guard history, and images of lighthouses. You may also want to peruse the suggested reading list for even more in depth preparation.

Another item worth your attention is a page devoted to U.S. revenue cutters during the War of 1812. On this page, you can find paintings, ship's plans, and illustrations of the cutters and their personnel; histories of individual cutters, Captain Frederick Lee, and prisoners of war; brief overviews of the role played by the cutters; and a bibliography to assist further research.

Finally, if you want to get the kids out of the classroom and you are in the Connecticut area, you could try the U.S. Coast Guard Museum. Not in New England? Try the artifact finder to pinpoint museums in your state with Coastie artifacts.

The Barbary Pirates: Letter from Tripoli

Bibliography
Image Credits

(Visuals listed in order of appearance)

Video One:

Video Two:

Video Three:

Video Four:

Video Overview

Christine Sears looks at two 1800 letters between James L. Cathcart, American consul to Tripoli, and the current Secretary of State. Together, the letters give a hint of the political and military tensions that would lead to the First Barbary War.

Video Clip Name
Sears1.mov
Sears2.mov
Sears3.mov
Sears4.mov
Video Clip Title
Primary Source: Exchange of Diplomatic Letters
Historical and Geographical Context
Helping Students Question the Text
What Happened Later?
Video Clip Duration
3:13
6:23
3:27
3:20
Transcript Text

So it's written by James Leander Cathcart, who was the U.S. Consul in Tripoli, to the Secretary of State in May 1800, and he's writing to explain that the Bashaw, or the leader of Tripoli, has become very unhappy with treaty arrangements. Americans were trying to trade in the Mediterranean, particularly with European countries, so they were trading with Europe, Bordeaux and Lisbon and ports like that, but the Barbary pirates would—basically they had a protection racket. So if you didn't pay them some sort of tribute or some sort of money, they would capture your ship, so it would make it very difficult for you to trade. And Americans really needed that type of trade to go on.

So Tripoli—Cathcart, rather, is in Tripoli trying to arrange those—smooth things over with the Tripolitan Bashaw. And the Bashaw has become aware that Algiers is getting paid more than he's getting paid, and this is making him unhappy. What he probably also knew is that Americans were three years behind in their payments to Algiers, so even though the treaty looks better on paper for Algiers, Americans weren't able to make those payments because they were just so short of cash. So the Bashaw had apparently informed Cathcart that unless he received presents in addition to whatever tribute payments had been arranged, he was going to declare war.

And Cathcart is communicating that information to the Secretary of State and indicating that they can—They have a few options. The President is supposed to respond. The Bashaw expects him to respond—not Congress, not Secretary of State, but the President, so as long as the President responds in a reasonable amount of time, they can take a little bit of time for that response to come. Cathcart also indicates that if they're going to make payments, if they're going to make a present to the Bashaw, that that will probably buy another year, and after that time the Bashaw will will probably once again become unhappy and demand some sort of payment or presents.

Cathcart is also of the opinion, in this letter, that if the Americans were able to send ships over, it would protect their commerce. So he, I think, in another letter, suggests a couple of ships would do. If they were able to send four ships, it would be enough to take care of the problem, and the force would overwhelm the need to send presents.

Cathcart also says or gives some of the details of other arrangements. For instance, the Danes and the Swedes are also making these protection payments, and what I found particularly interesting is he indicates how much those payments are—so he says they're paying 1500 dollars every three years which seems like quite a bit of money. It was quite a bit of money then.

And you can see the trouble that Americans are having. They don't have a lot of money in the federal government, even though they're at least operating under the Constitution instead of the Articles of Confederation. They can't pay Algiers, let alone Tripoli. They need desperately to trade in the Mediterranean, but they're not able to either protect their trade or make the payments that they need to make.

It is difficult for students, I think, to understand the language, and I find if you can have students read it out loud, that they can often make sense of it. And it is meant to be a public document, so it's being sent to the Secretary of State, but Cathcart is well aware that this is going to be a document that's going to circulate. It might be published in part in the newspaper, it might be something that's going to end up in collections for the government, it might be in Congress. So he's definitely writing in a way that he thinks will look good for other people to read, which can be difficult for us to interpret.

He's also using terms that may be unfamiliar, like the Imperials, the Danes. Ragusians, which was a very small trading state on the Dalmatian coast. And those powers that he's listing there are not very strong powers. So the British, the French, had very strong navies, but these people do not, and they're involved in the carrying trade, because they, like the Americans, are neutral states, and there's so much war on the continent at that time period that the neutral states are making a lot of money in the carrying trade—as long as they can pay off the Barbary pirates.

Well, there's actually humongous subtext, and if you're going to do further research, there are two ways I think that you could have students approach this. One is the issue of trade and how trade was carried out at that time period—and increase in violence, as well, between the 1780s and the early 1800s. There's an incredible increase in violence in trade in general. The French Navy, for instance, grows something like 40 or 60 percent, and that's fairly standard. A lot of European and Russian navies—the Algerian navy, for that matter, grows at this time period. There are European powers, including the Neapolitans, who are seizing American ships. One historian estimated that between about 1800 and about 1810, other powers seized about 1,600 American ships all told. And North Africans take 13 of those ships. So the North Africans are the least of our problems in many ways.

And I think Cathcart, that's the second way you could approach this, Cathcart himself is a really interesting case. He's very concerned about the issue in Tripoli, and he's concerned in a really personal way, because in 1785, as a young man in his early 20s, he was captured by Algerian pirates and he was enslaved in Algiers for 11 years. In 1796, he is finally redeemed, by the United States, with a bunch of other Americans, and returns home and is appointed then to be the Consul in Tripoli.

So he has a really unique insider viewpoint. He knows North African politics. Most Americans don't. You can tell that he's trying to pitch this idea to the Secretary of State, that you might have to make presents or force. And that's really clear, and it's been clear to Europeans since like the 12th century—you're either gong to make these payments or you're going to get a big enough navy to do something about it.

America is kind of in a bind. It doesn't have a lot of money to do either, and Cathcart is trying to convince them, I think, to use force. I think there are two things—one is that he says If we make this payment, it's only going to delay things for about a year. And the other place is where he talks about pretenses. That they're going to attack us no matter what, they're going to come up with excuses no matter what to attack us. So we might as well put a stop to it forever, and the only way to do that is force, and that's what I'm seeing between those lines, where he's talking about pretenses and delaying and it's only going to be a year and then we're going to have to do something else.

Well, I think, in fact, these Tripolitan pirates are privateers. Everybody else's privateers look like pirates to you. And privateers, what that means is that it's a government-arranged, government-sponsored program of piracy. And the Tripolitans were very clear about it. If you make arrangements with them, if you sign a treaty with them, they're not going to capture your ships. If you don't, they will capture your ships.

They know to capture your ships because you're carrying what's called a Mediterranean pass, so if you're trading legitimately, and you're trading legitimate American goods on an American ship, you're going to have one of these Mediterranean passes and Tripolitans are going to board your ship and they're going to check out your pass and see if things are in order, and if things are in order, they won't capture your ship. If things are not in order, if you don't have your pass, if you are not actually a legitimate American ship, you're just claiming to be an American ship, they're going to capture you and they're going to take your goods and they're going to sell your ship and possibly enslave the people that you have on the ship. Every ship that's not convoyed—so sometimes Americans were able to get French or British or Portuguese ships to convoy their ships, so if you don't have the force to keep them from stopping their ship, yes, they're going to stop your ships.

And in part they have that power because in 1785 the Spanish made a treaty with them—the Spanish then stopped keeping them out of going through the Straits of Gibraltar, so they could actually get out into the Atlantic after 1785. You didn't have to come into the Mediterranean, in other words. You could be trading on the coast of Portugal, and they could still stop your ships.

So this is very much an organized state endeavor. The pirates are organized by the state, they're supported by their state, it's part of the taxation system of the money that the state is bringing in, in Tripoli. And the government in Tripoli is telling the privateers which countries are appropriate for them to attack. They really are using terms that indicate they're seeing themselves as more of a navy, so that Morad Raiz that's mentioned, Raiz is their term for captain, so that just means he's a captain in the navy, and this is his job basically. He's told by the state, the Americans aren't paying us enough, we want them to pay us more, you should stop their ships. And if it looks like they have a lot of booty on board, then we need to capture them and make things difficult for the Americans so they will negotiate with us.

They'd sell the ships, they'd sell the goods, sometimes—the Tripolitans are less likely to do this but Algiers, in particular, would enslave the men. By the early 1800s, Tripolitans are less likely to do that. And to be fair, Europeans are doing this as well. I think it's 1790, there's something like 800 Muslims held in Malta, so privateering was going on on both sides, and both sides are calling the other people's navy pirates, and they're all privateers, they're licensed by the state.

Normally I'm a big fan of handing out primary sources and just seeing what they do with it, but, I think in this case, I would want to make sure that we had looked at a map together and seen where these places are, and seen what's on the Mediterranean, and seen maybe the ports, the European ports, so they they could a get sense of how close you have to get to North African ports and how far their ships would range. I think I might also want to talk with them about what people were trading over there, because that's one of the questions you're left with, why are Americans trading with Tripoli? They really aren't trading with Tripoli, but they're taking a whole bunch of flour and wheat over to the European continent, is really what they're trading.

So I might want to set up some of the context. Why are we going there? What's going on once we're getting there? Who are these Tripolitans? Where are they Iocated, so they could get a sense of what was going on. I would ask them to come up with a list of questions from the source, so that we could talk about what was confusing to them or talk about some of the things that they were interested in. And what I would hope would come out of that is that they would ask even more detailed questions about the relationship and how was the government involved, but also the relationship between the United States and Tripoli. Why Tripoli is taking the ships, I think that would be a really interesting question for them to ask.

The other thing I was struck with is that at the very end and at the very beginning of this letter, he talks about how long it takes letters to get back and forth. So I think that raises a lot of issues about doing government business, if it takes two and three months to get letters back. And of course Cathcart is probably sending multiple copies of the same letter by various ships, hoping that one of them will make it, because those ships are very likely to be captured by Algerians, by the French, by the English, and never make it home

And in fact, he's kicked out of Tripoli and Tripoli declares war on the United States, and the Americans don't know for another month or so after that war has been declared because he can't get the information back soon enough. So meanwhile, America does send a couple of ships over, and the ships are charged with either making arrangements or attacking. So they're sent with some money, and said if you can smooth things over, if you can make things work out alright, that's okay, but if you have to use force, use force. They get to Gibraltar and they find that war has been declared. And what happens after that is Americans have—I think it's five ships that are sent as part of that flotilla, and they blockade the Tripolitan port. Unfortunately, they blockade it ineffectively because they're only five ships. And what they find is that the Barbary States in general work together. So they're blockading Tripoli, but Algerian ships take Tripoli goods, Tripoli passengers, and they're able to get into the harbor of Tripoli because we're not officially at war with Algiers. Tunis does the same thing, so they load up goods on their ships and they're able to get into the harbor and America can't really do anything about that.

Incidentally, at the same time, one of the states that's often part of that Barbary States configuration, Morocco, looks like they're going to declare war, so some of those ships are sent down to Morocco to protect American shipping, basically, past Morocco, which is on the Atlantic and much more able to take American ships.

And basically, between 1800 and 1803, we try to blockade Tripoli, to no effect, because the Barbary States are all working together, because we don't have enough ships to blockade that port, and so there's sort of a standstill. There's a series of actions but nothing incredibly exciting until 1803, when the Philadelphia is chasing a Tripolitan ship into the harbor of Tripoli, and apparently, the captain and his navigator—David Porter is the navigator, Captain William Bambridge is the captain—apparently, they don't have a very good map of the Tripolitan harbor, and they run the ship aground on a reef that the Tripolitan ship would have had knowledge of.

It's the largest ship in the Navy at that time, and William Bambridge tries to save the ship by throwing everything he can find off the ship. So they're unloading cannon, they're throwing it into the water, he's trying to get the ship to lift, so it will free from the reef. But he's not able to free the ship. So the Tripolitans capture the ship, they capture the crew of about 307 men, they take them into the city of Tripoli and put them in a prison.

And then they use the American men to refit their own warship, because the next day, the Tripolitans are able to free that ship from the reef and bring the ship into their harbor. So that's a very difficult situation for the Americans. They have—the Tripolitans have managed to capture the largest ship in the Navy, they've got 307 hostages to work with. In 1805 we sign a treaty with Tripoli, and it's really through that treaty diplomatically that things are solved.

William Eaton, who is a consul, or an American diplomat, in Tunis, is extremely aggravated that we're paying money to pirates, so he pitches a plan to the President that we should take land forces into Tripoli—so we have the Navy working, we'll have Marines in Tripoli, and we'll be able to take the country. And William Eaton convinces the Bashaw's—the leader of Tripoli's—brother, Hamet, to work with us. Eaton and about 200 marines and several thousand Tripolitans, Berbers, all kinds of people who flock to the that banner of Hamet do in fact have this long dramatic march through Tripoli and are able to stake out the city of Derna. And they're holding that city, and William Eaton believes that they're holding it successfully, but there are thousands and thousands of Tripolitans surrounding them, and the Bashaw is just sending some of his professional soldiers down there, so it looks very bad for him.

Meanwhile, Tobias Lear has been sent over to make final negotiations, and he agrees to pay 60,000 dollars to free those American soldiers who have been captured, including William Bambridge, and signs a favored nation treaty with the Bashaw that includes, basically, presents, which are tribute payments, but they call them presents. So, from an American point of view, it looks like he's arranged a treaty that does not include tribute, but from the Bashaw's point of view, he expects those presents, and to him it's tribute.

Team Ships

Article Body

Team Ships (the Navy's Program Executive Office, Ships) was founded in late 2002 to manage construction and design of U.S. military vessels.

The site of Team Ships was obviously not designed for educators so much as for providing basic awareness of the office and its various vessel classes (likely intended primarily for military enthusiasts or marine hobbyists). However, there is one small section which may be of interest to you for your professional purposes.

Shipping, for transportation of goods and people, is crucial to American history. By extension, the shipbuilding trade was similarly imperative. However, few, if any, textbooks cover the process of shipbuilding. Team Ships' site's strength is that it offers a very basic overview of the general steps in creating a maritime vessel within the U.S. military system. (The individual steps are linked in the right hand navigation bar.) Many students are interested in World War Two land vehicles, ships, and planes. Why not offer them a hook by talking about shipbuilding in the Navy?

A Maritime Perspective on American Expansion, 1820-1890

Image
Annotation

Focusing on 19th-century American maritime history and westward expansion, this collection of more than 160 documents from the Mystic Seaport Museum and Library provides diverse materials to explore themes such as the California Gold Rush, whaling, maritime business, migration and immigration, women's role in the West, and interactions between European migrants and native inhabitants. This Ameritech Award-winning site includes more than 25 photographs, more than 20 letters, logbooks from ships, published travel narratives, paintings, maps, and nautical charts. Provides four essays published previously in a Mystic Seaport publication, including an 1866 newspaper essay assessing Honolulu as a whaling port by youthful journalist Mark Twain.

The site is searchable by subject, name, title, and keyword, and includes an annotated bibliography of hundreds of documents in the Seaport's collections, and of 65 secondary sources. Valuable for those studying the American West, maritime history, business history, and the history of coastal and island localities.

U.S. Navy

Article Body

The United States Navy, one of five national military branches, is responsible for the preparation and maintenance of maritime vessels and troops to be deployed in the defense of the United States and marine freedom.

Although an initial glance at the official Navy website does not suggest that the department offers educational materials, the site provides a wide variety of resources which could be put to good use in the history classroom. These include modern Navy photographs and both print and web advertisements for comparison to historical photographs, recruitment posters, and insignia within the Naval Heritage and History Command's Online Library. The library also presents Naval biographies and a selection of online reading, which includes Naval abbreviations and period regulations.

If you desire more information on 20th-century Naval life or action, a good starting point would be the archives of Naval Aviation News, with back issues from 1943 to present, or All Hands Magazine, with issues from 1922 to present day.

Other online resources include art exhibits, short essays related to Naval artifacts, and the Little Skippers page. The latter contains a lesson plan, latitude and longitude activity, and word search.

If you are looking for field trip opportunities, the Navy maintains the official National Museum of the United States Navy, which houses exhibits of U.S. Naval history, covering topics from polar exploration to military actions and navigation. The DC Naval Yard also holds the early history (1776-1919) and operational archives. Visitors unable to reach the Washington Naval Yard, may find the list of other official U.S. Naval museums useful.

Naval History and Heritage Command Anonymous (not verified) Mon, 04/14/2008 - 11:31
Image
Annotation

The Naval History and Heritage Command collects, preserves, and presents the history of the U.S. Navy in physical locations throughout the U.S. and online. Teachers will be most interested in "Resources & Research," a rich collection of primary and secondary sources related to naval history, including photographs, paintings, documents, oral histories, historical overviews, chronologies, and bibliographies. Teachers may want to start with "Photograpy," "Web Exhibits," or "Commemorations," some of the richer and more navigable sections. "Photography" features an online library of selected images on subjects including recruiting posters, albums and scrapbooks, women in the U.S. Navy, aircraft, naval insignia, individual ships, and more. "Web Exhibits" gathers together more than 20 curated collections of resources on topics from the Civil War to Japan/U.S. Navy relations; resources vary by exhibit but include documents, photographs, videos, related articles, oral histories, and links to off-site resources. "Commemorations" features collections of resources related to specific events, including the bicentennial of the War of 1812, the sesquicentennial of the Civil War, the Battle of Midway, and the 1941 attack on Pearl Harbor. Teachers may also find unique primary sources in "Art." The Naval Art Gallery offers more than 25 galleries including "Women in Uniform" and "The Invasion of Normandy." Additionally, the "Archives" section provides downloadable Commander Naval Forces Vietnam (COMNAVFORV) monthly summaries from 1966 to 1973 and links to other archives holding material on the U.S. Navy. "Navy Department Library" makes available naval documents from 1775 to the present day (note that the documents are presented chronologically by topic, with no distinction between primary and secondary sources). "Diversity" directs visitors to collections on women, African Americans, Asian and Pacific Islander Americans, Hispanic Americans, and Native Americans in the U.S. Navy. "Videos" indexes more than 90 video clips, some primary sources and some secondary. "Ships Histories" provides brief histories of specific ships, indexed by name, and "Aviation" provides data on different types of aircraft and aircraft carriers. "Bios" features more than 100 essays with images on naval figures. Teachers will need patience to navigate the site and uncover the primary sources available.

American Shores: Maps of the Middle Atlantic Region to 1850

Image
Annotation

This attractive site explores the mid-Atlantic region and history with maps created before 1850. An extensive collection offers more than 1,852 historical maps of many different types. In addition to numerous regional and state maps, these include land surveys, coast surveys, nautical charts, military maps, ornamental maps, and city maps.

An overview provides historical context for reading the maps of the geographic regions. In addition, the site offers several special features. "Basics of Maps" explains such cartographic terms and features as orientation, scale, and the cartouche. "Maps Through History" highlights particular maps and map genres from the collection, including a look at New York Harbor, the Hudson River, nautical charts, maps revealing early transportation routes, and maps of American Revolution battle sites. "Geographical Areas" highlights many kinds of maps and what information they offer. Visitors can click on thumbnail images to view enlarged maps and pan and zoom the maps.