Christopher Hamner: We're going to look at a couple of monuments today, and I want to approach it from this idea of what is it telling us about the moment and the way that Americans are struggling with their memory of a particular event. Think about the Mall. There will be a thousand people passing through Air and Space between 9am and 9:10 this morning; so in 10 minutes, that's a career's worth of people who may be getting all their history out of just going through those exhibits. The World War II Memorial, which we're going to visit in the afternoon, gets 4.4 million people per year. So in terms of shaping the way people think about events and history, this is really powerful stuff. And I think it's important to think about, well, who made this? And what did they make it for? And what were the circumstances under which this was put up and why does it look the way it looks? For my money, the one that we're going to look at first is the single best, most interesting, most fascinating memorial in the entire city. It's the Ulysses S. Grant Memorial. What makes it so interesting is that you can walk past it and only get a tiny, tiny piece of what's going on. You have to really study…you have to spend a little time kind of engaging the monument to kind of get the full experience. And one of the thinks that's so cool [is] that you can talk about it as a piece of history [and] you can also talk about it as a piece of art. And this is one of the neater sculptures, both on this side and on the other side. The sculpture is so well done that if you walk around it, it almost seems to move. You see different things at different spots as you kind of make the semicircle. So maybe we should start there. Just kind of start here—and just like we've been talking about, you know, images, music, all sorts of things that you can read closely—look closely for the detail and try to figure out what's going on here. Teacher 1: He's riding one of the horses. Each one. Teacher 2: There's two riders. Teacher 3: Are they both shot? It looks like this guy's shot over here; he's shot here. This guy's avoiding being shot just like these guys, they're ducking, they're using them as shields. Christopher Hamner: Alright, if you just look at it—if you're just standing here for example and you just take the most cursory look at it what does it look like? If you only spend 40 seconds like most tourists, you take a shot from here and you move on, what do you get out of it? Teacher 4: It's a wagon, going from one place to another. It's moving. Christopher Hamner: It's kind of the heroic—it looks like a standard—you've got the horses rearing back, it's soldiers, it's kind of heroic, there's a guy leaning back, he's got the U.S. artillery flag. It looks like a pretty standard war memorial. When you take a little more time to look at it, what's going on? What is it, first of all? We've got a bunch of guys on horses— Multiple Teachers: It's artillery. Christopher Hamner: It's horse-drawn artillery, it's got an artillery caisson, it appears to be moving up to the front someplace. Everybody got that, right? What's going on? Teacher 5: They're stuck in the mud. Teacher 6: They're under fire. Teacher 7: Yeah, they're in battle. Teacher 5: I got stuck in the mud and cold, suffering. Teacher 8: And this guy looks like he's getting shot. And it looks like they're avoiding being shot. Christopher Hamner: Okay, that's one way to interpret it. One thing, if they were close enough to the front that they were taking fire the battery would probably be disengaged and wheeled in. So it would be rare to get that close. But everybody's kind of gotten the sense that it's in the process of crashing. Right? Let's go around to the other side. What's happening over here? Teacher 9: From this side you can definitely tell that it's more tilted, the part where they're sitting. Christopher Hamner: Okay, so. Teacher 5: The axle is breaking. Christopher Hamner: The axle is snapping; you can see the slack in the tackle there. But notice there's a lot of slack here, they're rearing up, it's in the process of crashing. I mean look at the wheels are akimbo. I think what's happening here is not that these guys are getting shot but, the horses have reared, it's just at this moment—it's full of energy, it's just at this moment where it's about to crash. These guys, I don't know if they're ducking fire of if they're just tired in the back. Especially this guy on the right, I mean, that is just exhaustion in his face. These guys have been towing this thing around for months or years. But they're not even aware that in four tenths of a second the momentum of the artillery case is going to carry them into this huge mess of horseflesh. And these guys are trying to rein in the damage. But, this is a picture of a crash about to happen. Think of how different that is from what you would normally see in a heroic military monument. This isn't a tribute to efficiency, or a tribute to the sheer power of the army, so much as a honest portrayal of how easy it is for things to go wrong. I especially like the guys riding in the back, just the exhaustion there. And think about how atypical that is for a military monument. When do you think this was put up? Teacher 10: After Grant died. Christopher Hamner: Yes! When? So that would cover roughly 130 years. Teacher 10: I was thinking post-World War I. Christopher Hamner: Good! I like that. Post-World War I is a good guess, why? Teacher 10: Because we struggled with modern warfare there and lots of people came home, and Veterans Affairs was formed. Christopher Hamner: That is a great guess, but not correct. That's what's interesting about this. This is pre-First World War by like 20 years, which is really kind of unusual when you think of all the other Civil War statues that we've looked at. We looked at Stonewall Jackson, you know, superhero, Superman, steroids, muscles bulging—that's much more traditional, that's sort of heroic, he looks indestructible, he looks incredibly powerful. This is not indestructible. Teacher: On the right, on the back he's got both of his hands bracing him on the other side like he's getting ready— Christopher Hamner: This is kind of the sense of energy…there's nothing that these guys can do. This is going to go very badly for them in a second or two. And there's a kind of resignation and exhaustion and a realism that is really unusual. You don't normally see a country putting up a military monument that depicts a crash and I think it says something kind of interesting about where the nation was 25 years after the Civil War when they started putting this up. How do we want to remember this event? What are we going to put up? What are we going to show? How are we going to show it? Teacher: Maybe like you were saying, when you really look at war and teach it you should look at the tough side of it and don't glorify it. Like you were saying, it was a struggle, it broke our country apart. Christopher Hamner: I think that's exactly where we're going with this, there's even more interesting stuff on the other side. But think about how unusual that is. And it will become, I think, even clearer as we get to World War II, which does not have this kind of gritty realism to it.

Christopher Hamner: What's the kind of tone of the memorial? Teacher 1: Charge! Teacher 2: The cavalry is making a charge. Christopher Hamner: It's a cavalry charge and it's kind of got those iconic touches: there's the captain in front, he's got his saber up, and they're pointing forward, and there's flags streaming and there's muscles rippling in the horses. It kind of feels like a traditional, heroic celebration. What's going on when you look at it more carefully? Teacher 3: This guy on the side here he's shielding his face. This guy is about to get his day ruined. Christopher Hamner: What's happened to this guy? Teacher 3: His horse is down. Christopher Hamner: His horse has either been hit or has tripped. What is about to happen, what is the story that's going to unfold here? Teacher 4: It's going to be a domino effect. Christopher Hamner: There's a cascade of—the guys in the back are totally unaware of what's happened in front. And the officer leading the charge has got this heroic pose and a heroic look on his face, but is oblivious to the fact that this is, like the other one, kind of in the process of falling apart. What's gonna happen to this guy? Teacher 4: He's going to have his head stepped on. Christopher Hamner: There's a pretty good chance he's gonna be trampled because the horses are going to be unable to stop. That is supposed to represent Shrady, the sculptor, in fact, the face is modeled after his face, which is a kind of odd touch. He didn't live to see the entire thing cast and commissioned. But you've got the same kind of sense that there's energy coming, but if you look closely there is the beginnings of a sort of disaster happening. You have to look for it. If you just step back and say oh, standard cavalry charge, it looks a lot like the heroic monuments you would see at Gettysburg or Antietam; look more carefully and it's kind of brutal realism. Not everybody—the charges didn't always work, the horses fell down. What's going on on the ground in both of them? There's like mud in motion. How many monuments do you recall seeing where there's so much attention to the ground and how nasty—I mean, there's a chopped-down tree trunk on the other side. It recognizes that these Civil War battles didn't happen on a manicured golf course, that they happened in really nasty conditions and there's—it's all in motion too, it's mud that's being kicked up. It's kind of a dirtier, grittier, more realistic version of warfare. This is pre-World War I, and this is really, really different. If you look at most statues of generals, particularly from the Civil War, or a statue of Washington, they're turned out in their general regalia, their officers coats, and their insignia, standing erect and their chests are out—it’s a heroic celebration. This is something different. You get a little bit of that in the front, but it's kind of got this ironic twist in that this glorious charge that he's leading is about to meet with a sort of disastrous end. Teacher 5: I was noticing a few of the other elements that usually you don't see in statues. As you mentioned the mud and the tree back there, but look at the horses' mouths. About three or four of the horses they're exhausted, the tongues are hanging out, especially the one on the far side here. The one on the near side has a wide-open mouth. So they've been charging for a while, this isn't automatically happening, you know, we're not just starting it. Christopher Hamner: That one sort of looks terrified, too. In the horses and on the artillery side there's a sense that they're portraying the fear, which is a real part of the experience, that again you don't normally see. What do you think that the people who put this up, who donated money to it, who designed it, who cast it, who erected it—how do they want you to think about the war? Teacher 6: A more realistic view. Which is kind of before their time. Teacher 7: It's certainly—for me, I'm trying to contextualize it within the end of the Gilded Age and the beginning of imperialism and I'm trying to make sense of it and it doesn't jive with my preconceived notions of what to expect out of a monument during that time. They were in to stuff that was grandiose and heroic; and this is heroic in a very raw way. It's not— Teacherr 5: Raw. Raw, I like that word. Christopher Hamner: If—this should have been erected in 1918 or 1919, right? That would fit in with the narrative of how we understand that people kind of gave up their glorious view of warfare and adapted a more realistic tone. But it doesn't.

Christopher Hamner: Turn around and take a look at U.S. Grant up there. There's some interesting stuff going on with the depiction of Grant, just the way he's portrayed. But there's also the relationship between the two lower pieces, the cavalry on this side and the artillery on the south side and where Grant is located. What do you know about—what is your sort of thumbnail understanding of Grant as a Civil War general. This is after his presidency, which is generally regarded as something of a disappointment. So he's depicted here in his more successful incarnation as a general. You can kind of work backwards from there and one of the reasons that Grant accepted the surrender is that he was the victorious general, he is the general after that incredibly torturous process of trial and error, plugging these guys in and we cover this a little bit in the summer, that there was this revolving parade of generals who had been disastrous—you know, Pope, McClellan, Burnside, Hooker, these guys who just could not get it done. And then in the summer of 1863 Grant distinguishes himself at Vicksburg, comes west, and it's Grant who is the head of the armies in the last two years of the war. And who finally grinds down the army of Northern Virginia and forces its surrender. How does he do that? Teacher 1: He picked up on the war of attrition. Christopher Hamner: The thing that Grant did differently that none of the generals previous to him did—So many of those generals were about maneuver and about trying to get behind Lee's army or trying to get between Lee's army and Richmond and trying to win the war without fighting a really bloody battle. Grant was one of the first to embrace a more modern sensibility that said you cannot win a war in this day by capturing the enemy capital, you have to win the war by destroying the enemy army and they only way you can do that is by meeting it on the battlefield and fighting it. Remember the Union had that huge advantage in its, the manpower pool it could draw on, its productive capacity; and the South didn't. The South had a much smaller population and they had much less capacity to produce ammunition and weapons. What had happened in the first two years of the war in a general way is that there that would be a big battle and both armies would kind of pull back. That allowed the South to keep fighting for a long time. Grant is the first commanding officer who really understood that they were going to have to fight them and keep fighting them. Remember when we did the campaigns of 1864; there is just horribly bloody battle after horribly bloody battle from May to July of 1864. They are fighting a massive, deadly engagement every couple of days, this is the Wilderness qne Spotsylvania Courthouse. There were more than 60,000 Union causalities in a six-week period during that point. That’s—they're fighting a major battle every couple of days. Remember, we were talking about the bottom-up experience, what it's like not just to be a soldier, but to be the wife of a soldier, or the mother of a soldier, someone on the home front, and imagine what it's like to get that newspaper every other day and to flip right to the back page, which was called the "Butcher's Bill," and to read over the individual names and be praying that it's not your loved one that's going to be listed there. And that's kind of an interesting contrast to our 20th-century experience. We do a lot of the same things today, but in the Iraq and Afghanistan conflicts four deaths in a day is a horrible tragedy—and it is—but imagine that there are 400 deaths every day and that it just keeps going on and that there are 4,000 deaths some day. It's a kind of warfare that reaches into Union homes, homes in the North, in a way that was really unprecedented. Grant was extraordinarily unpopular. They began to get a real kind of respect for Grant—who was the total antithesis of a lot of the generals they had had before. McClellan was a little Napoleon, he was always very turned out in polished brass and very much looked the part of a general. You can see that Grant doesn't. A lot of the soldiers saw him as someone that was more relatable. At the same time this is a guy who's continually plunging them into battle. In the spring of 1864 it's not at all clear that that's going to have a successful conclusion.

Christopher Hamner: What's coming across here about him as a general? What is the tone or what adjectives would you use to describe how he's being portrayed. Teacher 1: Alone. Christopher Hamner: Where do you get that? Teacher 1: Well, obviously there's no one else up there with him. You just see the sight of him looking straight, he's in his own thoughts, his own world, he's battling the elements, the wind is blowing past him, the horse's tail is swept; yet he's going to stand fast, like he's determined to have whatever he has in his mind fulfilled. Christopher Hamner: There's like three or four things we can dig into there. First in terms of him being alone, look at how separate he is from the troops that he's leading. He is, what is that, 30 feet? Maybe more? He is physically separated from them; he is also 30 feet above them. He's away from them on this axis and also on the vertical axis. Teacher 2: He could theoretically have been placed in one side or the other in terms of the way that they portray him in his dress. Teacher 3: All of these guys on both sides they don't look like they're wearing like summer—they look bundled up like the weather is bad. I mean, the mud, the rain. Christopher Hamner: And Grant's got that going on too. The adjectives that you guys threw out—resolute. But he's lonely up there. And he's not interacting with the soldiers. Teacher 4: He's in the middle of it all; he's in the weather. You have the same type of weather theme being done, but he's still somehow above it all. Christopher Hamner: Literally above it! Right? He's kind of figuratively above this but he's also literally above it. There's a kind of sense of determination, he's got a fist on his hip. You get this sense of how resolute people wanted to imagine him as. This is a guy who understood that there was not a way to win the war except to do a lot of fighting and an incredible amount of dying, and you can kind of see the weight of that on his shoulders. Teacher 3: He sort of famously internalized a lot of the—I feel like you can see that, his shoulders are kind of hunched forward. Teacher 2: He's not postured the way that you see Stonewall Jackson. Teacher 5: He seems kind of hunched forward. Christopher Hamner: And remember, they had 20 years to think about this. They did not decide to raise the money for the statue on Monday, throw it together on Thursday, and commission it on Friday. There were 20 years of planning and artist models that they work a lot in clay on miniature before they cast something in bronze. There were all sorts of different potential ways to portray Grant. They didn't have to do it the way that they did it. And unlike other kinds of historical texts, where you can say sure you can change that, it's not written in stone—this is written in stone and cast in iron! Teacher 6: One thing that's striking me is that he's also surrounded by four lions. And typically what is a lion known as? The king of the jungle. I think that's speaking out to me right there, too. Christopher Hamner: Well, and then there's something else we haven't talked about, there's the sort of relief that's on the pedestal. Can you guys make out on both sides? Teacher 3: The cavalry again. And then the infantry on this side. Christopher Hamner: The soldiers are present, they're there. And again, that's a little more of a realistic depiction of the soldiers. Teacher 1: Thinking about both sides of the relief, they could have put that relief anywhere. But look where they put it. And what is the relief supporting? Grant. So the underlying message is his men supported him and his decision that he's making on that horse right now. Christopher Hamner: And you notice it's got this kind of realism that I think is really unprecedented, particularly for the time and it's still pretty rare. But, was it Brian pointed out the lions, there's the kind of marble pedestal. It's not the Korean Memorial where you can actually walk around the figures, it still has these nods to more traditional, classical form. But it also incorporates the stuff that's new and I think that makes it just so complicated and so interesting. There's a series of choices here and I think they tell us something about where the nation was at the close of the 19th century and remembering this war and figuring out where it fit into our national narrative.

Suzannah Niepold: Alright, gather up where you can see this painting. I'm covering up the label on purpose; I want you to look before we get any sort of background information. What's the whole picture about? Teacher 1: I begin by looking for what's underneath the rainbow. Suzannah Niepold: Okay. What is underneath the rainbow? Teachers: A home. A church; it looks like a church. Suzannah Niepold: So you notice this tiny little house, sometimes that takes a while to see. And that's at the foot of the rainbow; so what's that about? Why did the artist do that? Teacher 2: Well, homestead. Out west that was the big American dream—have your own land, have your own house, and not be subject to anybody's control. Suzannah Niepold: Fantastic. So that's the American dream—to have your own spot surrounded by land. Okay. What else do you notice? We've used the words beauty, paradise, how else would you describe this particular landscape? Teachers: Vast, open. Teacher 3: You've got two little [unintelligible] over here. I mean, it's not totally alone but it's pretty [unintelligible]. Suzannah Niepold: You're not totally alone, but you don't have right next-door neighbors to deal with. The house is really small; it is really hard to see. What does the artist do to make sure your eye goes there eventually? How does he point it out? Teachers: The rainbow. Suzannah Niepold: Right, it's right at the end of the rainbow. But that really wasn't enough for him. How else does your eye go there? Teacher 4: You've got that slope coming from here too that angles up. Suzannah Niepold: You have what coming up? Teacher 4: The slope, the road. It comes up right here and you've got a lot of water right here. Suzannah Niepold: Absolutely. [unintelligible mummers and answers from visitors] Suzannah Niepold: Fantastic, you have all of these lines—this little sort of drop of light leading up here, the water, the path, the pointing. So that really let's you know that this is the main subject of the story. It's kind of the American dream. The title is Landscape with Rainbow, it was painted in 1859, and the artist is Robert Duncanson, Robert Scott Duncanson. So, if this is painted in 1859, why would you choose this subject at about that time in American history? Lets consider, first of all, what's going on. . . . Teacher 5: People are beginning to go West, also. Teacher 6: The American dream, with all the politics going on, is in some ways disappearing. Suzannah Niepold: The American dream, this idea has come up several times, so that's really maybe challenged, is that what you're saying? Teacher 6: I'm saying with the conflict, the regional conflict, some of the ideals of America are in question. Suzannah Niepold:: The other thing to add that isn't on this label—but it is available on our website in the biography of the artist—is that this artist is African American. Does that change the painting for you at all? Okay, I'm hearing "Oh, oh, interesting." Teacher 3: Going north to the promised land. Suzannah Niepold:: So it's not just the American dream, it's the promised land? Teacher 1: Yeah, but then why would he put two white people there? Teacher 3: Dominant cultures. Teacher 2: Because he's hiding behind his work. His work's not going to be respected. He's an African American. So he paints white people on it because a white man's going to look at a painting with white people in it, they're not going to look at a painting if there's a black one in it. Suzannah Niepold: It's going to change the meaning. If you’re thinking of contemporary viewers, you're right; it's going to change the meaning. Duncanson was funded by abolitionists, and their goal was to show how ridiculous this idea [was] that a race was lesser by showing how skilled an African American artist could be. So he's showing off technical skill, as well as maybe this dream—this kind of American dream on the eve of the Civil War. There are kind of three eras of African American art. Everything before the Harlem Renaissance in the 1920s is kind of what you see here of trying to say, "We're just as good; this is ridiculous, we can do everything that you can do." It's not until the Harlem Renaissance that it's saying, "We don't have to show your world, we can show our own."

Teacher 1: Wouldn't you like to just be standing right there on the water? Teacher 2: Okay, that's the whole point. That's what you're supposed to do. That's what he was doing. He's been on traveling shows to encourage people go to out West. Teacher 1: Oh! Teacher 2: So you got it. Suzannah Niepold: In fact the way the curators hung this, with this curtain here is meant to kind of hint at that history. And that Bierstadt painted these giant landscapes and that he would tour with them, and he would keep them behind a curtain and you would pay admission. Then he would whip back the curtain. But how does Bierstadt accomplish what we just talked about? How does he make you want to step into this landscape and just say, "Wow!" Teacher 2: Its size. Teacher 3: It's a huge picture. It's not just a picture [where] you're like, "Hey, I wonder what that is?" Teachers: It's like a window; it looks peaceful. Suzannah Niepold: Peaceful. How does he create this idea of peacefulness? Teachers: The deer; the calm water; calm waterfalls; the light; the soft clouds; the softness of the whole picture. Teacher 3: It's almost alluding kind of like Heaven and angels right where all the top comes out and the clouds are. You kind of think you would see this in a church or whatever, and a church is supposed to be one of the most peaceful places. Teacher 1: And everything goes up. All the trees go up, the mountains go up, everything is pointing up. Suzannah Niepold: Things that you notice and the specific details that you're pointing out. Like how still the water is and how the deer—they're not spooked, there's nothing coming up behind them. And we have this . . . some people call it the "Godly light" kind of peeking through. What role does God play in this period of American history? Why might he have a part of this landscape, or why might he. . . . Teacher 1: Manifest destiny. God wants us to go there. Suzannah Niepold: Manifest destiny. God wants us to go there. Teacher 2: When was this painted? Suzannah Niepold: Look at the label over here. Teachers: 1868. Suzannah Niepold: 1868. Yes, it's called Among the Sierra Nevada. So it's California in 1868. So, again, why might he paint this in 1868? Teacher 3: It's after the Civil War. It's a calming . . . well, it's supposed to be calming because what's really going on between the South and the North during Reconstruction still is not very calm. And this is an escape. It's an escape for everyone. Teacher 4: But it's also the year that the Transcontinental Railroad is finished. Suzannah Niepold: But it's funny that you don't see any of that, right? You don't see the modernity, the advancement of civilization has no place here; it's still this ideal. And I think it's going to what you're saying is that the Civil War ripped up the East Coast. If you search our website for Civil War photographs, we have plenty, you'll see just destroyed landscapes. You just walked down that hallway past Niagara and all these sort of "New Eden"-y paintings. We sort of saw ourselves as the new world, new opportunity, and the Civil War maybe destroyed that image a little bit. And so the East Coast loses its "shininess" and we start looking out here for our peace and our majesty and our hope. Teacher 1: May I? Suzannah Niepold: Go ahead. Teacher 1: It's like a staircase almost, with the sides. It goes up there, and it goes on, and it takes you into. . . . Suzannah Niepold: To make sure your eye goes all the way back there.

Suzannah Niepold: Okay, let's start with this one just by looking at the right-hand side; just block out—just pretend the other half isn't there. Okay, so, it's nice and peaceful, how else would you describe it? Teacher 1: Old-school. You see the boats with the sails and the hand fishing in the rowboat. It's kind of the way they've always done it. Suzannah Niepold: Okay, so the way it's always been done. And what is being done? What's going on on these boats? Teacher 2: In the front one they’re fishing. Suzannah Niepold: And how are they powered? Teacher 3: It's manual. Suzannah Niepold: Still on the right side. So [by] oar. It's manpower. Teachers: Sailing; wind; natural. Suzannah Niepold: Alright, switching to the left-hand side, what do you see over there? Teacher 4: Pollution. Suzannah Niepold: Yeah, it's funny when we look at it with our eyes you see smog, pollution, this horrible environmental travesty. How might they have seen it in 1866? Teachers: Progress; power of progress. Suzannah Niepold: So you have to consider the transition in how our modern eyes see things versus how they might have been perceived back then. Different kinds of power—maybe steam power, progress, industry. Look at the landscape on both sides, how is it different? Teacher 5: This over here [on the right] is clear, you can see… Teacher 6: It's greener. Suzannah Niepold: So which do you think the artist liked better, the "old school" or the "new school." Which did he support in this painting and how can you tell? I don't know the answer to this. It's a matter of. . . . Teacher 1: To me it looks like old school because he paints that front rowboat so very, very clear; sitting from back here you can see just about every detail of the gentlemen. Teacher 7: But the industry is made larger. It's much larger; more powerful. And it's closer to you. So he wants you to look at this. Suzannah Niepold: We talked some about light and dark, and how artists can use that. Which side has the sunlight? Teacher 5: They both do. You're focusing here, and then you're focusing there. It's almost like you're doing this— Teacher 7: When you look at the sky, this one is lighter [right side]; but when you look down, this one is lighter [left side]. Teacher 5: Yeah, on the water. He's presenting both sides of the issue. [Indecipherable, multiple teachers talk at once] Teacher 1: It's like you said, most of the sunlight is on this side [left side], but look at the smoke coming from it. It's changing it, it's turning it dark. Suzannah Niepold: I want to come back to what you were saying though; because look there is sort of this blue sky up here, and here it's the man-made smoke that's covering that up. But here [right side], we have the natural storm. So again, he's almost setting up that equivalent. Teacher 8: Well, you just said the word storm. Is the storm bringing in this change?

Suzannah Niepold: You came from Gettysburg—am I right about that? Teachers: Yes ma'am; yeah. Suzannah Niepold: So the Civil War is fresh in your mind, right? This is a tiny little scene of Appomattox—feel free to come closer, maybe, you know, take a look, and then let someone else come in. It is a challenge sometimes to work with these much smaller paintings. This is the scene of the surrender; Grant and Lee are meeting in order to officially end the war. Although of course, it wouldn't exactly end right at this moment. How has the artist chosen to present the scene? If you're all the way over here, feel free to come in and fill in the front. Teacher 1: You can tell who won. Suzannah Niepold: You can tell who won. That's very interesting. How can you tell who won? Teacher 1: Well, because the Union soldier is in the front, and he's got his hand on the desk and his whole chest is facing out towards the audience. It's almost like a teacher stance with somebody, if you're scolding a child. You're looking at them like, "I can't believe you just did this." That's what he's doing. Because Lee was such a highly regarded officer in the military at the time, it's almost like he's looking at him like "Why did you do this to yourself, and to us?" Kind of like he's being scolded. Suzannah Niepold: What about Lee though? It's not exactly like he's cowering in a corner. How does the artist show him? How did he show this highly respected, regarded man in this tough moment? Teacher 2: I think he's got his hands up like, "I can't believe I had to do this, that it came to this." Suzannah Niepold: So it's very hard for him to do this. What else do you notice about the scene? Teacher 3: You've got light right on the midline. So that . . . I don't know if that means like, the light, the focus is in the middle where they're agreeing, maybe, to quit fighting. Suzannah Niepold: That is, maybe, the highlight of the moment where the two sides are coming together. And let's use that to talk about composition. It is two sides, right? With the uniforms. How are those two sides equal? Are they? Teacher 4: We've got three soldiers on one end and two soldiers on the other end. Suzannah Niepold: Okay, so there's a little bit more weight over here. Even if you just look at the height of the two generals, [it's] roughly equal the way they're presented. You're right that Grant is slightly forward in that sort of authority stance. But if you look into surrender orders, the fact that Lee was allowed to keep his sword is a huge step. What does this say about what the North was hoping for the end of the war? The way that this scene is presented in terms of a surrender. How did they want to treat the South now that everything was over? Teacher 1: In this moment, it looks like they want to . . . it's like brothers fighting, [it's] done, over, let's go back to the way things were, let's forget about it. And of course we're history teachers, and we know that doesn't actually happen. Teacher 4: Yeah, but when you look at this guy's— Teacher 3: He's not real happy. Teacher 4: [He's like,] "Hey, you know, I really don't care about this." Teacher 3: Grant wasn't wearing his general bars. Suzannah Niepold: A few things are historically accurate. We know that he had mud on his pants, he had rushed there on his horse. Teacher 3: He had borrowed a jacket, so he wasn't wearing his general's jacket. Suzannah Niepold: But he wasn't wearing his general's jacket. So anytime you see an inaccuracy—or you see something you know is actually wrong from the way it happened. For me, that's actually the most valuable part of an artwork because that's pointing out a decision that the artist made in order to help tell a story. Teacher 3: Washington Crossing the Delaware. Suzannah Niepold: Exactly! So actually if we read the accounts of this scene, and there are many of them, there were a ton of people in this room. So why might the artist have chosen just to show a few? Teacher 3: Make it more intimate. Suzannah Niepold: How does that help tell the story. Teacher 1: He had to illustrate the significance of the famous Lee having to surrender, which ultimately became the turning point in the war. Suzannah Niepold: Okay, so it highlights him more if there are fewer people in the room, okay.

Sarah Jencks: First take: What are some of the things you notice, both about the content, what he’s saying, and also about the way he goes about saying it? Just a quick phrase or what words or phrases stick out to you here? Teacher: Well, there’s some old Biblical references. Sarah Jencks: Yeah, he calls on the Bible a lot, absolutely Teacher: That’s strange for us in the 21st century Sarah Jencks: And he also, it’s clear he assumes people know that those quotes are from the Bible, right, because he doesn’t say these are Bible quotes, he just does it. What else? Teacher: He brings sort of a why he said some things in the first inaugural address and how this is going to be different, lays out and prepares for what he’s going to say. Sarah Jencks: He definitely starts off by saying this is a new day, this is a different time. Absolutely. What else? What other things do you notice in here? Yeah. Teacher: Malice towards none is sort of the start of the Reconstruction. Sarah Jencks: So yeah. So at the very end of the speech, he’s definitely moving forward and he’s setting a tone for what his expectations are. Absolutely. What else? Teacher: I think he reaffirms the notion that we’ve seen since the Emancipation Proclamation, that originally the war was about preserving the Union, but now he’s very clear that it was about ending slavery. Sarah Jencks: Absolutely. Yeah, he really states it. He even goes further than that. We’ll talk a little bit more about that. What else? What else do you notice? Anything about the structure? Teacher: I’m just struck by the rather severe comment that God wills the retribution. Sarah Jencks: Yeah, there’s nothing light or casual about this middle paragraph. Anything else? Okay, let’s try to take a second pass at this, and as we’re doing it, I want you to think about those things, about the references, the Biblical references, and let’s also—we’ll pay attention to these different paragraphs. He starts by saying it’s a new day, then he goes into talking about what it was like in the country at the beginning of the Civil War in the next paragraph, and then he goes into this really intense paragraph about slavery and about why this war—he’s got an idea why this war happened. And then moving us towards post-war times. And just quickly I want to remind you, do you all know what the day was that Abraham Lincoln was assassinated? Do you remember? [Murmuring answers] Sarah Jencks: April 14th. He was assassinated on the 14th, he died on the 15th. And what is this date right here? March 4th. So it’s how much earlier? Yeah, just like a month and a half. It’s not much. He hardly had a second term. Teachers reading: Fellow-Countrymen: At this second appearing to take the oath of the Presidential office there is less occasion for an extended address than there was at the first. Then a statement somewhat in detail of a course to be pursued seemed fitting and proper. Now, at the expiration of four years, during which public declarations have been constantly called forth on every point and phase of the great contest which still absorbs the attention and engrosses the energies of the nation, little that is new could be presented. The progress of our arms, upon which all else chiefly depends, is as well known to the public as to myself, and it is, I trust, reasonably satisfactory and encouraging to all. With high hope for the future, no prediction in regard to it is ventured. Sarah Jencks: Okay, let’s stop for a second and talk about some of the things he’s doing in this first paragraph. It’s funny, I’ve been doing this for three years, and I just noticed a new thing, so what, what are some of the—he’s very skilled in the way he’s structuring this. What are some of the things that he’s doing in this first paragraph. How is he—what is he trying to do as he introduces this speech? What do you see? Teacher: Well, ’high hope for the future, no prediction in regard to it is ventured.’ Like, he has a plan, he’s not quite sure how it’s going to go and how it’s going to be accepted. Sarah Jencks: Yeah, and, you know, that’s the part that I just noticed something for the first time. He doesn’t ever say in this speech, and the Union is going to win, which was clear by then. It was clear by March 4th that the Union was going to win. Why wouldn’t he say that? Why might he choose not to say that in this speech? Given what else he knows? Teacher: He feels he’s a president of all the states. Sarah Jencks: He doesn’t want to stick it to the South. He’s specifically saying no prediction is ventured, I’m not going to go there. It’s an interesting way for him to start this. Teacher: So he’s already thinking about healing. Sarah Jencks: Exactly, exactly. Yeah, yeah, we’re not going to start this speech by saying we’re winning, we’re doing it. Teacher: Well, he even has sense before, ’reasonably satisfactory,’ he doesn’t go jump and say that we’ve won, pretty much, it’s very— Sarah Jencks: I just heard, I’m sorry, I don’t know—yes. Yeah. And very measured. He’s very careful how he does that. Teachers reading: On the occasion corresponding to this four years ago all thoughts were anxiously directed to an impending civil war. All dreaded it, all sought to avert it. While the inaugural address was being delivered from this place, devoted altogether to saving the Union without war, insurgent agents were in the city seeking to destroy it without war—seeking to dissolve the Union and divide effects by negotiation. Both parties deprecated war, but one of them would make war rather than let the nation survive, and the other would accept war rather than let it perish, and the war came. Sarah Jencks: Okay, let’s stop again. Um, he’s still talking about the previous inauguration and the beginning of the war here, and he does a lot of this ’then and now.’ If you notice, in the first paragraph, he says ’then the statement seemed fitting and proper, now, we don’t need it anymore.’ So, what do you notice about this paragraph, what are some of the things you notice about what he’s saying at this paragraph? I’m going to say one—are there any hands back there that I’m missing? Yes. Teacher: I was just going to say he’s very balanced. He’s not placing blame. And, you know, in these last few sentences, he states what one party did, then what the other party did, and then response one party did, and the other party did. He’s very—it gives a very balanced perspective. Sarah Jencks: And what’s the—this is just a little grammar thing that I sometimes do with kids when I’m looking at this. In that very last clause of the paragraph, who’s taking the action? Teacher: The war itself. Sarah Jencks: Yeah. Isn’t that interesting? It’s not a person on either side. It’s the war is the subject. Teacher: And he also does a similar thing by saying that insurgent agents, he’s not saying the whole South, the government, you know, or the leaders of the South, like agents, like I know it’s not everyone, it’s just these few. Sarah Jencks: And he also says in that second sentence, notice the way he says all dreaded it, all sought to avert it. Nobody wanted war. Teacher: I think he does nail, though, who he feels started it. Sarah Jencks: Yeah, yeah. It’s true. Teacher: Makes it clear. Sarah Jencks: It’s true. He says one of them would make war rather than let the nation survive. And the other would accept it. No, you’re absolutely right, you’re absolutely right. I mean, he’s not saying nobody’s responsible here, but he is really being careful about the way he phrases it. Um. We’re ready to keep going. Teacher: Okay. Sarah Jencks: Okay. Teachers reading: One-eighth of the whole population were colored slaves, not distributed generally over the Union, but localized in the southern part of it. These slaves constituted a peculiar and powerful interest. All knew that this interest was somehow the cause of the war. To strengthen, perpetuate, and extend this interest was the object for which the insurgents would rend the Union even by war, while the Government claimed no right to do more than to restrict the territorial enlargement of it. Sarah Jencks: Okay, I’m going to stop us here, because this is a really long paragraph. What’s he doing here? He’s moving on from talking about what happened at the beginning and who was responsible. He’s going a little deeper here. What’s he doing? Teacher: He’s kind of always said that the cause of the war was to save the Union, but here he’s saying that even though we always said it was to save the Union, we knew that this was slavery and this institute had something to do with it. Sarah Jencks: And who knew? According to him? Teacher: Everybody. Sarah Jencks: Everybody. He does it again. All dreaded it, all sought to avert it. All knew that this interest was somehow the cause of war. He’s not letting anyone off the hook here. What else? Do you recognize any language here, from other studies of slavery or anything? Teacher: A peculiar institution. Sarah Jencks: Exactly. A peculiar and powerful interest. Absolutely. And I think it’s really interesting the way he says to strengthen, perpetuate, and extend this interest was the object to which the insurgents would rend the Union even by war. I love that image, his use of that word, to rend the Union, because I always think of sort of tearing fabric or something. Teacher: He’s also in the next part of that sentence talking about, you know, I didn’t say that I was going to abolish slavery at the beginning, I was not—I was going to let the states deal with it, the territory. He says, hey, you know. Sarah Jencks: Other "than to restrict the territorial enlargement." Part of what I like about this speech also is that it sort of like gives you like, the whole history of, you know, the early part of the 19th century. He addresses so many issues that you can then make connections to. Okay, let’s keep going. Teachers reading: Neither party expected for the war the magnitude or the duration which it has already attained. Neither anticipated that the cause of the conflict might cease with or even before the conflict itself should cease. Sarah Jencks: Okay, stop for just a second. What is he saying here? He’s addressing something that happened in January 1865 here. The cause of the conflict should cease before the conflict itself should cease. Does anybody know? Do you remember from down— Teachers: The Emancipation Proclamation. Sarah Jencks: The Emancipation Proclamation, yes, that was in 1863. January 1865, the Congress passed the 13th Amendment. And so it hadn’t been ratified yet, it wasn’t ratified until December 1865, but it had been passed by Congress. And so he lived to see that happen, and that was yet another sign that it was—we were in the endgame.

Teachers reading: Each looked for an easier triumph, and a result less fundamental and astounding. Sarah Jencks: I love that sentence because the kids often, they think, they’re not used to these words being used in such a powerful way. A result less fundamental and astounding. Just changing the whole country. Keep going. Teachers reading: It may seem strange that any men should dare to ask a just God’s assistance in wringing their bread from the sweat of other men’s faces, but let us judge not, that we be not judged. The prayers of both could not be answered. That of neither has been answered fully. The Almighty has His own purposes. Sarah Jencks: Okay, let’s stop again. So he’s making a transition here from determining what the cause of the war was to what? What’s going on here? Teacher: It’s in God’s hands. Sarah Jencks: It’s in God’s hands. Where do you see that? Teacher: It’s just the [unintelligible] that I’m getting from the actual—the whole Bible and everything else, it’s just kinda like this is fate now. Sarah Jencks: He’s doing something more here with that. The way he was using 'all' before, he’s using—do you see he’s using that here as well? What words does he use here to bring people together? Teacher: Neither. Sarah Jencks: Neither and also—does anybody see anything else? Both. Yep, neither and both. He’s bringing everybody—he’s saying, we may not be seeing this from the same perspective, but we’re all seeing it together. Teacher: And I take that both sides here have lost. Neither side is jumping for joy. Sarah Jencks: Yeah. Yeah, absolutely. Absolutely. And he really is bringing everybody together. Let’s talk about that dig for a second. What’s his dig here? Teacher: That the prayers of both could not be answered. Sarah Jencks: The prayers of both could not be answered. That of neither has been answered fully. They could—we can’t—we’re not—we’re not going to be satisfied. What’s he—his previous sentence, though, may seem strange. Teacher: Yeah. Sarah Jencks: What’s going on in that sentence? Anybody want to read it aloud again? Somebody just go ahead. Go ahead. Teacher: Uh, okay. ’It may seem strange that any men should dare to ask a just God’s assistance in wringing their bread from the sweat of other men’s faces, but let us judge not, that we be not judged.’ Teacher: Is that a dig against slavery, then? Teacher: Yeah. Sarah Jencks: What’s he—how do you take that? Teacher: You’re making money from someone else’s work. Sarah Jencks: Yeah. But who do you think he’s talking to there? Teacher: I think to the South. Sarah Jencks: You think he’s talking—okay, tell me more about that. Teacher: Slaveowners. Sarah Jencks: Slaveowners. Okay. And the workforce. Think about the Northerner here, for a second. Why might that sentence—and I’m just thinking of this right now, so don’t think I’m so far ahead of you here. Why might that sentence be addressed to a Northern audience? Teacher: He’s critical in that the Northerners really didn’t maybe speak up more loudly against it, that they even have labor issues themselves. Sarah Jencks: Remember he quotes the Bible here, though. He says it may seem strange that slavery exists, but, let us judge not, that we be not judged. So yeah, he’s bringing up issues of labor in the North, and he’s saying hey, you Northerners, you abolitionists, you may think those Southerners are pieces of white trash, but let us judge not so that we be not judged. You’re not God. It’s interesting because he’s got many many audiences here, and we’re going to be playing with that in the minute. Teacher: I was thinking similar to the reference that he used, let he who casts the first stone be without sin, so, you know, it seems like another Biblical reference or reference to that part of the Bible. Sarah Jencks: Yeah, absolutely. Let’s keep going. Let’s go. Teacher: Woe— Sarah Jencks: My apologies for cutting you off. Teacher: It’s okay. ’Woe unto the world because of offenses; for it must needs be that offenses come, but woe to that man by whom the offense cometh.’ Sarah Jencks: What does this mean? What does this Biblical quote mean? Let’s break it down, because it’s not an easy one. ’Woe unto the world because of offenses; for it must needs be that offenses come, but woe to that man by whom the offense cometh.’ Teacher: I mean, to go back to the Biblical language, he’s saying something along the line of it’s a shame that we have to live in a world of sin, this is a sinful world, so we should feel sorry for ourselves, and this is a place where sin is going to happen, but God help the sucker who commits the sin. Teacher: Yeah. Teacher: Bad things happen, but this could have been avoided. Sarah Jencks: Right, and also you’d better not be the one who’s actually doing it. Yeah, absolutely, and what he’s doing, it almost looks here like he’s setting up the South, but then let’s see what comes next. Teacher: You wonder if there’s a little confusion in the speech. He starts out saying it’s about saving the Union, then he ends up saying, well, this is really about retribution for slavery. Which is it? Sarah Jencks: It’s the big question of the Civil War, isn’t it? Teacher: It strikes me, realistically, you can’t have it both ways, even though he wants it that way. Teacher: Couldn’t you read it, though, as more of a superficial understanding— Teacher: Superficial is my middle name. Teacher: No, no, I mean, the whole thing about preserving the Union, that sort of, you know, the reading of it, initially, but then, you know, we spent the whole week studying Lincoln and how he agonized over this stuff in his summer retreat and then at a deeper level, he’s looking for a more meaningful way to frame the whole thing, so that it’s not necessarily contradictory, but just deeper readings of the same situation. Sarah Jencks: I would throw out to you also that Abraham Lincoln was the consummate politician. He was a great leader. That’s separate from his having been a great politician. And that he was very conscious of the laws of the land and the way that he handled this war in the first half of the war. And in the second half, he started to become much—he was looking for a deeper meaning. For himself, with the death of his son and the death of all of these soldiers, whom he was mourning. And he really started drawing on—looking for a deeper meaning in a different way. So that doesn’t answer your question. Teacher: Back in the 19th century, didn’t most Americans, or at least, you know, the elites believe that democracy was a divine act? I mean, Reagan wasn’t the first person to say that United States was a city on the hill. You know, you’ve got Melville[?] and all these other guys referring to it that way, so for Abraham Lincoln, couldn’t that also be the case. That to preserve the Union was to keep God’s purposes, God’s will going on Earth, because as long as democracy was there, justice could be done. Sarah Jencks: That’s really interesting. Yeah, and that was, it was Winthrop, it was that early on, the city on the hill concept started. Teacher: Remember that, yesterday, talking about how the Declaration of Independence was the apple, yeah, the Constitution is the rain. Goes right back to that. Teachers reading: With malice toward none, with charity for all, with firmness in the right as God gives us to see the right, let us strive on to finish the work we are in, to bind up the nation’s wounds, to care for him who shall have borne the battle and for his widow and his orphan, to do all which may achieve and cherish a just and lasting peace among ourselves and with all nations. Teacher: I mean, this is what brings the whole thing full circle. From the introduction, what Mike said about it started out trying to preserve the Union. Yes, slavery was a major part of it, but, I think, you know, events change people. You’ll have a belief when you’re a younger person and then as you get older and as experiences start to mold and shape you, you start to—especially having a child or something else—it makes you think differently. And this war, with the loss of his own child and the loss of all these mother’s children, changed him. So he needed to get back to a place that brings us back together. Sarah Jencks: I see also that he’s using this whole Biblical kind of exegesis almost to set up what he says in the last paragraph. Because if none of us are responsible, then we have to move forward, we have to strive on with malice towards none and charity for all. We can’t hold it against anyone. Teacher: Especially when he said back a few sentences before that both sides have committed sins during the course of this war. Teacher: Yet does he really say that nobody’s responsible, or does he say that we’re all responsible. I sort of get the sense he’s saying that we’re all responsible. Sarah Jencks: Yes, I agree with you. I totally agree with you. We are all responsible. Teacher: But he still names the insurgents. Sarah Jencks: Yes. Teacher: We’re still pointing the finger somewhere. Teacher: I still wonder, to what degree does Lincoln himself take personal responsibility for all this tremendous loss. I mean, in the first inaugural, I lot of you are remembering, he said, I’ve taken an oath to preserve the Union. So I’m this passive agent, essentially, and I must follow my oath. But of course he didn’t have to follow his oath exactly as he saw it. He had other choices. Teacher: And I think— Teacher: What do you think? Teacher: He wasn’t passive. You know, he used the Constitution to his benefit and that other times he expanded powers in it and stretched things and kind of toyed with it in order to achieve a goal. And you’re saying he’s a master politician, he wasn’t just—he wasn’t, in my opinion, this ’I’m a moral person that’s just following my oath,’ he was very deliberate in what he did, he was very calculated in what he did, and the way things that he followed in the Constitution, things that he chose to kind of stretch a little bit, it was all for his kind of for his goal to win the war. Teacher: Very Machiavellian. Ends justify means. Sarah Jencks: One of the phrases that I find really powerful from—I don’t know if you all are ever trying to make these connections, I can’t imagine you’re not, but I’m always looking for those threads that sort of go through the 19th century or follow from the Declaration, you know, the different political threads, through to the Civil War and beyond, and Lincoln was a great follower of Daniel Webster, the Whig politician. And one of Webster’s phrases, or his sayings, which is actually on the wall of the National Constitution Center if you ever get to go up there in Philadelphia, it’s ’one country, one Constitution, one destiny.’ And they were struggling with these same issues in, you know, the middle and the early part of the 19th century, too. It didn’t just happen. Teacher: [Unintelligible]—time we were a country— Sarah Jencks: Yeah. You’re absolutely right. And so Webster said that. Well, if you go down to the coat in the lobby, Lincoln had those words, ’one country, one destiny,’ embroidered in his overcoat. Literally, an eagle of the Union, with the words ’one country, one destiny,’ embroidered in his overcoat.

Sarah Jencks: So what I’d like to do is to start off by looking at some of the things, specific things that might have been, you know, when we hear presidential speeches and other speeches today, commentators and even regular people can see things, and then you think, oh my gosh, I see they said that, that’s going to be—that’s a buzzword or there’s that kernel of an idea, it’s going to keep going forward, I know it’s going to be an issue. And so the idea here is to partner up and to look for, to try to articulate, we’ve talked a lot about these, but the theory, the sort of proposition about the war that Lincoln makes, and then, secondly, what the policy is that he’s proposing. He makes a statement of a proposition of what the war was all about, and then he proposes a policy. Teacher: These two people get along fantastically—this person didn’t want to fight the war at all. This person didn’t want a war that would disrupt the institution of cotton and slave [uncertain], because his livelihood would be Teacher: Right— Teacher: But he could always turn a blind eye to how the cotton was being produced. Teacher: Alright, so the theory we’re going with is that there’s blame to go around, right? Teacher: Right, and the South is not going to be punished. And I guess that’s what she was getting to, in order to understand what happens next, why Lincoln’s assassination was a tragedy is because we know that Reconstruction went in a million different directions. Teacher: The war is God punishing us for slavery. Teacher: No, all parties are [unintelligible]. Teacher: Right. Because, I mean, he’s really not talking a lot here about the war to preserve the Union, to preserve states’ rights, he’s really focusing on the slavery issues a lot more. Sarah Jencks: I call these the POV cards, your point-of-view cards. I want to first ask you, does anybody feel particularly good about what you wrote, not to show off, but you feel like you could—you’d be willing to share with us either your theory or your policy and/or did it bring up any questions that anyone wants to raise with the— Teacher: We kind of felt that people of the North who really felt that they were sort of fighting to fight would see this as controversial. What do you mean we shared the blame, you know, we don’t have slavery, we’re trying to preserve the Union, and now you’re telling us that we’re partly to blame. I think maybe that’s where some of the controversy lies. Sarah Jencks: Interesting. Okay. Yes. Teacher: We also felt that neither the North, kind of going on what Nancy said, that neither the North nor South is going to be happy with his plan of no blame and that, you know, he wanted to move quickly, like the South now is going to be forced to join the Union, which they’re going to be upset about, and the North is going to be angry that they’re not, you know, held as this victorious winner, that he’s really got enemies on both sides now. Teacher: Northerners don’t want to accept Southerners, Southerners don’t want to accept Northerners, and that 10% loyalty cutoff[?] of which 90% of the population in that Confederate state doesn’t want to be there. Sarah Jencks: Did any—I don’t know how much you all got to talk about or you read about in the basement museum the election of 1864. What were Lincoln’s chances? What happened? Can anybody sort of revisit that? Teacher: I think it depended on victory. Teacher: Yeah. Sarah Jencks: I’m sorry, say it again? Teacher: Well, it depended on victory. Sarah Jencks: Yeah, military victory. So, how was he doing before Sherman started succeeding in the fall? Yeah, it was not looking good. It was all over. And there are amazing images, again, of what happened on the Library of Congress website and on other places, in Atlanta and Savannah. And at the same time just remember, you know, if he hadn’t done that, where would we be? It’s a conundrum. It’s a little bit like the conundrum, when you investigated, of should we have dropped the atomic bomb on Hiroshima? Teacher: Well, Grant as well. I mean Mike was talking about should Lincoln take the responsibility of the death toll, where if you look at a Sherman or a Grant, their strategy was attrition and just keep throwing bodies at the problem until they run out of bullets. Sarah Jencks: Yeah, I mean, there’s a lot of controversy over what the best military practice is here. We do a play called The Road from Appomattox and it’s a meeting between Grant and Lee the day after the surrender, which we know took place. We don’t know what happened in it, but we know it took place. Or at least in their memoirs they both say it took place. And one of the things that Lee says is this is the last war that will ever be fought according to conventional rules of war as we know them. And I think that was true in many ways. So. Sarah Jencks: What else? What else is coming through here, in terms of the controversy of his theory, his controversial theory, or what his proposal was. What is the policy that he’s beginning to articulate here? Maybe we can move on to the policy. Yes. Teacher: The whole ’malice towards none, charity for all’ is remarkable. Sarah Jencks: So what’s he saying there? If you were thinking of it from policy terms? Teacher: Well, it’s directed towards the South. We’re not going to hang the leadership like many wanted to do up north, and after four years of hell, that’s pretty remarkable, that he would keep that focus, on reuniting the country. Sarah Jencks: Just to repeat myself, is it just directed towards the South, do you think? I mean, what about those Northerners? Teacher: Stop looking for revenge. Sarah Jencks: And the border states, it was a really big issue. As you begin to look at Andrew Johnson, one of the issues that we come up against with Andrew Johnson is that he was from a border state. He had been holding out for four years, as a member of the Union, as a legislator and a senator from a state that, essentially, had seceded. But he was maintaining his presence, which was why he was named vice president in the 1864 election. From a state that essentially had seceded from the Union, Tennessee. He was full of vengeance. He couldn’t have been more the opposite of Lincoln.

Sarah Jencks: So having thought about these two, having articulated this theory and then the resulting policy he’s proposing, I want you to take a look at these different Americans—almost all of them are Americans, one is not an American—that you have in front of you on these POV cards. And by the way, I have one more—if anybody needs one, I have one more. And take a moment to think both about how they would have responded to the speech and then, as a follow-up, how they would have responded to the assassination. Abraham Lincoln’s family was from Kentucky, originally, and they—his parents left their Baptist church because it was pro-slavery and they were not. So these are—and even if you can’t make a clear decision, start to think of what the questions are, you know. Okay, in his very last speech before he was assassinated, Lincoln proposed that what he described as ’very intelligent Negroes’ and those who had fought for the Union should be eligible for the vote. Teacher: Okay. Sarah Jencks: So. . . . Teacher: That would give hope, but— Teacher: Yeah. Teacher: But this is after the assassination, right? Sarah Jencks: What happened in South Carolina afterwards actually was that it became the state with the most black legislators during Reconstruction. Teacher: Right. Sarah Jencks: Right, so. . . . Teacher: And that only lasts about 10 years. Sarah Jencks: Right. Not even. Alright, so. Good questions you guys are bringing up, though. I’m not going to ask you to tell—to go around and say what your person would have thought. But instead, if you want to reflect on some of the questions that you were struggling with or that came up or some of the issues that you had to ask— Teacher: How about if we know what the person would have thought? Sarah Jencks: If you know? If you feel certain, then I think you should say what were some of the things that made you know. Okay? Alright. Go ahead. Whoever wants to start, raise your hand or just shout out. Anybody? Okay. Teacher: Well, we got Andrew Johnson the [unintelligible] legislator from Tennessee, so we already know that he was a little angry and wanted revenge, but was politically-minded enough to go with Lincoln until, you know, his time came. But then because I mouthed off, she gave me another one. And this one was a white merchant in San Francisco, formerly of Delaware. Apparently Delaware was a very small, slaveholding state— Sarah Jencks: Yeah, but border state. Teacher: —and this gentleman moved to San Francisco, obviously probably during the Gold Rush, so our idea was we really don’t think this guy cares. He’s in San Francisco, he’s trading, he’s involved with all sorts of ethnic groups and nationalities and he’s there just to make money. So I really don’t think his political opinions are going to be very strong, since he moved from a very small state to a state with more people where there could be more opportunity. Sarah Jencks: But California came—was strongly in which camp during— Teacher: In the free state category— Sarah Jencks: In the free state category. Teacher: —since the Compromise of 1850. Sarah Jencks: Okay. Excellent. Good thoughts. What else? Who else? What did you—what were you thinking about as you were going through this process? Teacher: Right. We were a white Georgetown DC dockworker. We’re wondering why we were unable to fight, but— Sarah Jencks: Maybe you had like a leg that had a—you broke your leg when you were little. Teacher:: You have to build your character. Teacher: Our options are really limited, so we’re really worried now with the freeing of slaves, because all this cheap black labor is going to be coming up from the South and if this—if what you’re saying is basically our case, we have very few options economically to turn to. So if we lose this job. . . . Sarah Jencks: Not to mention that the Potomac River is about to silt up and there isn’t going to be a dock in Georgetown in 10 years, but you don’t know that. Teacher: Man. Sarah Jencks: What else? Teacher: I just thought it was interesting how you guys think about their reaction to the speech and then to the assassination, and the role that we had was a Massachusetts writer with strong abolitionist ties. And we have very different reactions to the speech and the assassination, that, you know, they’re disillusioned by the speech, and this is not enough. You know, you’ve soft-pedaled down, you’ve taken more of a centrist stance. But the assassination still devastates them because this is, you know, your revered leader who did speak out. Sarah Jencks: Interesting. Teacher: We also struggled as an abolitionist with the idea of, you know, having a religious sort of approach to this whole thing, would we have been insulted that, okay, now we’re being lumped in with the sinners who perpetrated this horrible institution, and how dare you try to make us be with them. And then maybe we become more zealous once Lincoln was assassinated—see, now you didn’t want to punish them, now they killed the president on top of it, just sin upon sin on the South, and I’m not part of that. You know, even more stronger regional identity of not wanting to be seen as part of that bigger— Sarah Jencks: Yeah. Very interesting. Teacher: And one of our controversies was, just because you’re an abolitionist didn’t mean you believed in equal rights. Sarah Jencks: So true. That’s so true. Absolutely. There were a lot of Northerners who did not—we sort of tend to say that the Northerners were oh, they were antislavery. Not so much, you know. That was unusual. Absolutely. So the last thing I want to ask you all is if you were to take this into your classrooms, what kinds of things might you want to do to enhance your ability to assess students and/or to develop this into something that would actually work for you. And I know this is really fast, but let’s just quick do some popcorn ideas about this. And the last piece is if you were to use this, is there anything that you feel like you would need to do to scaffold it differently? Yeah. Teacher: I mean, I teach global, so we were thinking of ideas, possibly doing this with, like, the French Revolution and giving out different characters, or Caesar or any revolution for that matter, and really, you know, coming up with different types of characters and seeing what the kids do. Sarah Jencks: It does require some research, though. Because as you noticed as I was going—it can be your research or the kids’, you can decide, sort of. You can use it as an assessment tool, or you can give it to them and then say you need to go find out more about these people. Teacher: We had an Illinois regimental soldier, [unintelligible] Taylor, and we were trying to think what battles that soldier would have fought in. So that would be a springboard to do a little more research about that regiment, get background on— Sarah Jencks: One thing that has occurred to me just while we’ve been doing this here is that you could potentially do this in part as a Google map activity. You could use Google maps to actually pin where each of the different people were from, and to upload, you know, something so that you’re creating a class project as a result that might allow you to—everybody can make use of it as a tool, ultimately.

Suzannah Niepold: Here's what I'm going to do, I'm going to split you right down the middle here, and I want this group just to look at the land—and just look at the land, ignore the border that goes all the way around the side, but just the land in the main part of the painting. Try to figure out what story it's telling and how it's telling it. We talked a lot about light and dark and that's really key here. This half, I want you to look at the people. Again, ignore the border, but just the people in the main part of the painting. Who are they? What are they doing? How do they help tell the story? [Teachers commence group discussions] [Group 1:] Teacher 1: You see men chopping with their axes. Teacher 2: Clearing their way. [Group 2:] Teacher 1: It looks like the Sierra Nevada, doesn't it? Teacher 2: Yeah, it's still the Sierra Nevadas, I agree with you on that. Teacher 3: Coming here, and there's the promised land. Teacher 2: The promised land is out there on the other side of the mountains. [Group 3:] Teacher 1: Yep, they're all trying to cut a path through. Teacher 2: I mean that's what they're doing. They're all looking towards the sunlight. Actually it's probably California because they're coming out of the mountains. Teacher 3: The Rockies. Teacher 1: But yeah, they're forging ahead. That's what they're doing. Teacher 2: So this is along [indecipherable]. Teacher 4: I like the two guys who have reached the top of the mountain. Teacher 2: "We're here!" [Suzannah Niepold transitions to large group discussion] Suzannah Niepold: Let's start with the land groups. What can you tell us about the land in this picture? Teacher 1: Going from the darkness over here on the right, to the valley, it's very dark, cold colors—the blues and the purples right there. And it's coming in, it's getting golden, then it transitions over into the yellow and it gets brighter as it goes over. It's inverting, you've got a triangle with a peak at the top on the right, and then a peak at the bottom, [so] the landscape balances. And you have that division with the landscape . . . it reminds us of Moses parting the Red Sea, taking my people to the promised land. Teacher 2: You've got the mountains, too, the hardship of coming over mountains; and then the valley below on the left. So that the promised land, the easy land, is on the left, and the hardships are almost behind them. Suzannah Niepold: Now this group you got up to go check this, right, was it hard to see? There's a burial scene—there's a cross that someone has erected right here, and if you follow the cross down there's a burial going on. It's one of the harder things to see. What else? Teacher 3: You've got the guys on the left with the axes clearing the way for the people to go through. Suzannah Niepold: Okay, so, they're sort of the head of the party, right? They're the one's clearing the way. What else? Teacher 3: We kind of thought it was interesting that the gentleman that seems to be holding the woman and the two children, she's got her hands like in prayer. He's the only one with that hat; he's the only one that's clean-shaven, that's an older-looking man, because the other ones are really young. So we almost said that maybe that he wasn't really there, maybe he's more like a guardian angel, since behind it's the burial scene. That he's pointing their way—she's in prayer, which is kind of symbolic of that. And he seems very calm, he's like the only one that's calm and just like, "This way!" Suzannah Niepold: So his role is important because he's pointing out the way. How does the artist make sure that you see this group? This is kind of an important group. Teacher 4: The woman's got a white shirt on. Suzannah Niepold: So you've got that bright contrast there. How else? Teacher 5: There's really nothing behind them other than the bright light. Suzannah Niepold: Yeah, that's another real key—you notice that his head and his hand, there's nothing really busy going on behind it so it really stands out.

Suzannah Niepold: The next thing that we're going to do is basically look at the same painting all over again, but here's the difference. This is actually just the study for a mural—this is like a sketch. And it was completed in 1861. The same artist painted the same scene; but instead of it being a painting, about yea big, it was a huge mural, wall-sized big. And it's in the Capitol Building; it's in the House of Representatives. So what I want you to do in your groups is compare the two and find the differences, because there are some pretty major differences between the two. [Visitors commence group discussions] [Group 1:] Teacher 1: Look at the head wound though. The head wound is barely a speck of blood in the first one, but then look, it's almost like— Teacher 2: They all look younger; even this man looks younger. Every one of them look younger. [Group 2:] Teacher 1: It's like there's . . . there's like smoke coming out right here. Teacher 2: Like in the distance there? But look at the difference in the mountains. Does that mean their struggles are less maybe? In this image the struggles being less. And are there more people? Teacher 1: It's spread out more. Teacher 2: Also notice what happened to the horses. Because historically they didn't use horses, pretty much they used oxen. So I guess he corrected it historically. [Group 3:] Teacher 1: I noticed the pose . . . the posture is different. It's almost more—his back is flatter, rather than more of a relaxed pose in the previous one. Here he looks like he's riding faster, or he's tired. Teacher 2: To me it looks like he's shocked, he's like, "Oh my god, is that really it?" And in this one it's like "I can't see it." [Suzannah Niepold transitions to large group discussion] Suzannah Niepold: Why did he take the burial scene out, do you think? Teacher 1: I think he lessened the harshness of the trip in lots of different places. The mountains are lower, so less of a hassle; there's greenery on the right side that he didn't have in the first one. So I think he's lessened the hardship of the journey. And that would be one way to do it. Teacher 2: And they've lowered their guns. In the first one the guns are up more, in this one they're down more. Teacher 3: What's the significance of the smoke in the [back]ground? Is it to show that there are more people moving west? Suzannah Niepold: Possibly. What else could smoke in the distance be? Teacher 4: Industry. Teacher 5: Indians. Suzannah Niepold: Indians. Why would he add American flags? [Unintelligible response] Teacher 3: So he's in the middle of the Civil War. Teacher 6: He's also got more historically correct because he's got oxen rather than horses. Suzannah Niepold: Ahhh, yes! Teacher 3: Everyone looks younger, and it seems like— Suzannah Niepold: Yes, I've noticed that as well. Why would he make everyone younger? What does that do? Teacher 7: To try to encourage the current age group to go that way? Suzannah Niepold: So it's encouraging people to go out West. Remember this is— Teacher 6: It's for the same reason he took the burial scene out; you don't want to scare them. You want to make sure that you can go, but everybody will live. Teacher 3: I think their dogs are interesting too. They have dogs in the painting. I guess it’s a "you can take your pet with you!" kind of mentality. Teachers: Bring your animals! Pets allowed! Suzannah Niepold: Sure. Sometimes in things like this I wonder . . . I mean if we're looking at this in real life it is now huge; and I wonder if translating it from this—which is isn't too much bigger than this reproduction—to the huge size if he's like, "Wow, there's a lot of space to full. What do I put in there?" There is a great video; an art historian who used to work in the museum—who actually used to be the director of the Birmingham Museum of Art—did a great little 10-minute video on this piece where he explains everything. So incentive for you to contact me and keep up with it, I can send you links to all this great stuff.

Briana Zavadil White: So, within the education department what we do is we use the portrait as a springboard into a conversation about history and biography, because the Portrait Gallery considers itself to be a biography, history, and art museum. So the art, the portrait, is always our focus, yet we're using that to get into a much deeper conversation.

The activity that we like to do is called a puzzle activity. You will need to share, and some of you will get your own. All right, this is what I would like you to do. In your pairs, or individually—depending on if you have a pair or you're working individually—just look at your puzzle piece, and try to identify what it is that you see. You're not trying to put the puzzle together yet, because we will get to that point; don't share with another group what it is that you have, just identify what it is that you're looking at. Okay? And then we'll go through in just a second.

[One group converses]

Speaker 1: [Unintelligible]

Speaker 2: It makes him seem really easy and relaxed.

Speaker 1: And interested in what he's saying. The other person over there, it's like he's not party to that conversation.

Speaker 2: Right, like he's focused on something else over here.

Speaker 1: Doesn't that look like he's looking at—maybe the city—

Briana Zavadil White: Just identify to the group what it is that you saw, but not showing anybody else your puzzle piece. Okay? Okay?

Speaker 1: Levers, wheels, some type of transportation tool? Lots of wood, and lots of levels—platforms—made of wood.

Speaker 2: We had a rug, a couple shoes—with feet and pant legs. And a map, or sketch of a building unrolled on the floor.

Speaker 3: I had what looks to be a blueprint sitting on an end table with a red rug on the floor.

Speaker 4: We have a meeting; there are many men involved. Two men are having an aside—one is turned to the other listening. There's something strange on the table, a metallic device, it looks like it's got tape through it; so we were wondering if it’s a telegraph receiver or something.

Briana Zavadil White: What do we know for certain about this portrait?

Speaker 5: That it's a formal affair.

Speaker 6: The signing of the Declaration of Independence or something?

Speaker 7: There's no women.

Briana Zavadil White: So it's a meeting, there's no women, it’s a formal affair, the signing of perhaps the Declaration.

Speaker 8: They look like prominent, powerful men; they have authoritative dress.

Briana Zavadil White: Okay, so their clothing is telling us that—again, this idea of formality—but also that they are prominent gentlemen.

Speaker 9: Movers and shakers.

Briana Zavadil White: We talked about the rug, there's some red drapery, right? And the marble pillars.

Speaker 10: There's the Franklin portrait.

Briana Zavadil White: There's the Franklin portrait.

Speaker 10: Which would mean that it's not the Declaration of Independence signing, but maybe it's inventors or industrialists.

Speaker 11: Maybe the period of Enlightenment, invention, science.

Briana Zavadil White: And you had said mid-19th century. Why did you say that?

Speaker 12: The clothing.

Speaker 13: No powdered wigs.

Speaker 12: The dark black coats that seemed to have been popular around that time.

Briana Zavadil White: Okay, okay. What do you want to do with it?

Speaker 13: Put it together?

Briana Zavadil White: Why don't we do it right there, in that open space?

[Attendees assemble puzzle]

Briana Zavadil White: What's the big "so what?" of a puzzle activity?

Speaker 14: If you did it with a class, they'd be questioning where things go, where things are placed, what's the significance of observing.

Briana Zavadil White: Okay, so observation [and] visual thinking. What else?

Speaker 15: Spatial awareness of where something's located within something larger.

Briana Zavadil White: Okay, and making inferences. Anything else?

Speaker 16: Working collaboratively.

Briana Zavadil White: The puzzle activity works really well when you choose a portrait that has a lot going on in it, like this piece does. It allows the opportunity to get into the individual pieces, because no one piece doesn't have a lot going on. Even the piece in the corner that sort of looks like a lot of just dark space, I mean, it's still an important piece of the puzzle.

Briana Zavadil White: What do all of these men have in common? Speaker 1: They've got to be inventors. Speaker 2: They're trying to make a decision. Briana Zavadil White: They have to be inventors, they're trying to make a decision. What visually in this portrait is leading you to believe "inventors" and, again, this idea of a meeting and trying to make a decision about something? Speaker 3: Blueprints, models. Speaker 4: Different things, like the gun could be a Colt; just all the different little contraptions, definitely the blueprints, and Franklin again, I think that's— Speaker 5: He's symbolic. Speaker 6: You've got the gentleman pointing at whatever it is, and it looks like the three of them together in the center are pointing at it. They may agree on something and the guy turning across the table to talk to the gentleman behind him…maybe there's two different ideas about what's going on. Speaker 7: I'm wondering though about the men on the left. The lighting is on them so they're significant somehow, but they seem on the fringe of what's going on. So I'm wondering why are they there and what impact do they have? Speaker 8: Or are they just the investors. Briana Zavadil White: Okay, okay. So this is interesting right? You're thinking that perhaps some of these individuals are investors. So again I guess the question would be, what do they allhave in common? Speaker 9: They don't look happy. Briana Zavadil White: Okay. Speaker 10: Well, they're all white males. Briana Zavadil White: What does that tell us? Speaker 10: They are leaders of some industry, because white, and they probably are property owners because they're making a decision and at this timeframe you had to own property to have any kind of power or authority. Briana Zavadil White: What does it say that Ben Franklin is in this portrait, but as a portrait within the portrait? Not physically among them. Speaker 11: It's past his time, but he's influenced the thinking or whatever is going on. Speaker 12: He's pretty much the "Great Inventor." He represents the spirit of inventing. Briana Zavadil White: Okay, so, it's past his time—which is starting to help us date this portrait a little bit; we know we're past 1795. He is above them, again as the Father of Science and Invention—the patron saint. Okay. What else? Speaker 13: This guy in the center is probably one of the lead authority figures in this group because his body is facing toward us, and his body scale is a little larger, seemingly, than some of the other ones—just the width of him. Briana Zavadil White: He's spread out, right? The way that the artist has positioned him we actually see his whole body, not profile. All inventors, right? So, we've got Franklin as the Father of Science and Invention watching over all of these men, okay? One of the reasons why we know that they're all inventors is because—this is when it all fits so nicely together for you as educators—because these men are placed in this portrait with their inventions, with models of their inventions. You've got the Colt Revolver; you've got McCormick's mechanical reaper; you have Goodyear's rubber soled shoes right here. I have had so many conversations—I was just having a conversation this morning with two of the Portrait Gallery's historians, and for the life of us, we just don't know what this is! This is the telegraph. We think that this is a model for a printing press. This is a sewing machine. And the carpet loom. And one of the reasons that we know that we're smack dab in the Civil War for this portrait is the facial hair. Think about it, Abraham Lincoln—with the facial hair—I mean, we're very much in that style. So, you've all been very curious about the individuals, and the lighting, and the way that they're faced, so here's my question to all of you: You are the preeminent inventors of the era; are you all going to have time to come together and have time to sit for your portrait to be painted? Group: No. Briana Zavadil White: No, absolutely not. So what the artist, Christian Schussele, has done in this portrait—just like he did with Washington Irving and his friends at Sunnyside right there—is he sketched them individually from life, so the connection between the artist and the sitter, and then brought them together in his imagination. Okay? So this is why we've got a little bit of strange lighting right here. It's also why most of these men don't necessarily seem to be looking at each other. I mean, they're looking in the same general direction, but it's not as if it's a straight-on conversation.

Speaker 1: It's like a memoir. Like it's telling about his history, not just that moment in time. Speaker 2: Somebody made it to show honor or respect to him. Was he president at the time? When was it painted, like right then or after? Briana Zavadil White: So even though we're seeing "Grant, 1863," the question is: Is this 1863 or not? Is it later? Speaker 3: I think it's later. Briana Zavadil White: It is later, it's 1865. Alright? So when you know that this is Grant at Vicksburg and it's 1865, what does that tell us? Speaker 4: Well, I mean, he was a failure. He was considered a failure in so many different ways. And looking at him, you know, Vicksburg was a big deal; it effectively split the South in two. So it was a big deal. You look at this and Hey, look, I am a— Speaker 5: But I think he looks sad. I don't think he looks like "I am—"; I think he looks sad. Speaker 4: He brought—he pulled himself back up. Speaker 6: The frame is black, and I find that odd—I don't think I've ever seen a frame at all like that. I mean, black is usually mourning. Speaker 7: Black and gold. Briana Zavadil White: My sense is that it's probably meant to contrast with the gold. We've got the acorns referencing oak leaves, and oak leaves are a symbol of strength, right? So it could be it's meant for the battles and for the acorns to stand out. Speaker 8: It's like somebody wants us to know that he's not a guy who just sits around and signs things, he is a man of action and taking charge of whatever. It's all done and now he's in the midst of this mess, not sitting in a tent waiting to hear how it turned out. Speaker 9: And I think his face—I do, I just see this poignancy in his eyes like glory has pain. That's that look in his eye. Speaker 10: The frame and his positioning in the picture makes it seem like he's trying to promote an agenda. Briana Zavadil White: I don’t necessarily know if the portrait was created for him. What I can tell you though is that the artist who created it, Ole Peter Hansen Balling—he was a Norwegian, I believe—he also created the portrait of John Brown that you took a look at out there. He also created Grant and His Generals, I saw some of you looking at it; it's that huge 10 by 16 portrait. This was an artist who did portraits on the side of the Union, right, and so he was commemorating. Especially with that portrait of Brown, that painting was created in 1872, long after Brown had been hung. In a way, I guess the question is: Are these portraits acting as propaganda? Speaker 11: With an agenda? Briana Zavadil White: Maybe a little bit. Right? Right?

Speaker 1: He's leaning forward like he's engaged, he's not passive. Briana Zavadil White: Okay, what else? Speaker 1: Because, you know, sitting is a passive act. Speaker 2: Also, even though he's in a suit, it's ruffled and it has the wrinkles in it. So that whole, common man, rail-splitter platform that he won the election with. Speaker 1: Even the cuff of his pants is caught up in his boot. Speaker 2: And that jacket being so crumpled in his chair. Speaker 1: His boots look a little worn, they don't look new. Speaker 3: There's a neat line that I thought of when I read—when I saw this picture; he said—they were talking to his law partner—"he had a slow but tenacious quality of his mind," [he] noted that Lincoln's "intellect worked not quickly nor brilliantly, but exhaustively. He not only went to the root of the question, but dug up the root, separated and analyzed every fiber of the root before he would come to a decision." Briana Zavadil White: I wonder what could you do—how could you make the connection with your students between that quote and this portrait. What could you have them do? Speaker 2: Pose it in a way that would represent them. Speaker 1: Make cartoon balloons of what he's thinking at that moment in time, because that would go with that thought process. Speaker 3: Yeah, he's certainly not thinking about what to eat for lunch. Speaker 4: I don't know, I think—some of the things that I read, like, at the Ford's Theatre talked about how these people were petitioning for places on his cabinet, and that he would listen to them, and that he's seen Sojourner Truth—it just seems like he was a listener. And that to me looks like he's almost listening to somebody talk attentively, he didn't brush people off—is what I kind of got the impression. Briana Zavadil White: So you're getting this feeling of him listening to somebody telling him something. Okay, interesting. Speaker 1: There's no accoutrements, there's no symbolism, there's no draped background, there's no mini log cabin on the floor. It's just him and the chair and the room. Briana Zavadil White: It lacks the objects, right? We know that there's a setting; it's most likely some sort of studio type of setting, right? But, again, like Sherman, we're forced to focus on Lincoln himself. So this particular piece—people always flock to it. It always strikes them for some reason, and maybe it's the pose, maybe it is that there isn't a lot of the extra stuff in it, but this particular image—which is by the artist George P. A. Healy—is actually a replica. Everybody knows the difference between a copy and a replica, right? A replica is a piece created by the same artist who completed the original, and a copy is a piece created by somebody entirely different. So here's the sneaky detail about this portrait, Lincoln had already died when Healey painted The Peacemakers. So he had to use a model, and then he used, mostly likely, photographs of Lincoln to create this likeness. Isn't that interesting? So, similar to the Brown downstairs—that portrait, like I said, is 1872—the artist had to use photographs from the trial to create the likeness. Alright, be in a position where you can see this portrait. Tell me about Lincoln's expression here. Speaker 2: At peace. Briana Zavadil White: At peace, what makes you say that? Speaker 2: He has somewhat of a smile on his face. Speaker 5: Relaxed. Briana Zavadil White: Okay. Does everybody agree that he has somewhat of a smile on his face. Speaker 4: He looks tired to me. Speaker 1: I don't think he looks peaceful. Briana Zavadil White: You don't think he looks peaceful. What's giving you the impression of him looking tired? Speaker 6: The eyes. Speaker 4: Yeah, I was going to say the eyes. And the shoulders are kind of slouched a little bit. He just looks tired. Speaker 1: His hair is just sort of ruffled around his ears. Briana Zavadil White: Kind of a bit unkempt, Lincoln is known for that certainly. Speaker 1: The big bags under his eyes. Briana Zavadil White: Okay. So we've got these bags, right, under his eyes here. And tell me about his cheeks. Multiple Speakers: Sunken. Briana Zavadil White: They're sunken in. What else? Speaker 1: His bowtie is askew. Briana Zavadil White: His bowtie is askew, isn't it? And it's always so interesting because this is a formal photograph, right? And yet, here we have Lincoln with his bowtie askew and his hair sort of a little disheveled, okay? It really is a true likeness of Lincoln because that's how he often was portrayed. Speaker 2: He looks like a common man. Briana Zavadil White: So, this is a photograph; where is the focus? Because we all can see a focal point, we also can see a blurred piece of the portrait. So what becomes the focus? Speaker 8: His face. Briana Zavadil White: Okay. Right really in the middle of his face, right? And then everything else gets blurred out from there. Speaker 3: The crack of the glass plate negative is a focal point though, too. Briana Zavadil White: Okay, and everybody sees that? Speaker 3: That wasn't intentional though. Briana Zavadil White: No, it absolutely wasn't. It absolutely wasn't. So is this—we certainly know, think about the plaster cast on the other side. You can tell that this is Lincoln, right, at the end of the war. This is February 5, 1865. This is one of the last formal sittings that Lincoln sat for. And this wasn't the only portrait of him that was created on that day in Alexander Gardner's studio, but the reason why this particular image was saved is because of that slight smile. Speaker 2: He did accomplish what he set out to do: he kept the Union together. And that was the goal. Briana Zavadil White: I want you to think about all of the photographs of Lincoln that you've seen. Do you ever see that expression? Multiple Speakers: No. Briana Zavadil White: No. The crack has taken on so much importance in contemporary times. But the reason why, again, the portrait was kept then, was because of the expression on his face. People talk now about how the crack is a foreshadowing of his assassination, and how it's separating North from South—but that's all contemporary ideas. Absolutely. I would urge you—and I saw that you have the Lincoln Smithsonian in your classroom, right? Did you get that? So the Portrait Gallery partnered up with the Center for Education and Museum Studies to create that issue. So in that issue you will have this piece, along with the life masks, as well as the Cooper Union carte-de-visite that I was telling you about downstairs. It really does provide a nice comparison between Lincoln at the beginning of the Civil War and Lincoln at the end of the Civil War. The other thing that you're going to get as well—and I think it's either on the CD or in your folder—is a lesson about the chronology of Lincoln. So I'm giving you about 20 different images of Lincoln spanning from I think 1857 to 1865 for your students to be able to consider that chronology and place—really place the portraits in order and to do it visually.