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This collection is made up of manuscript essays and writings, original artwork, and printed proof sheets by Edwin Whitefield, an artist who specialized in bird's-eye views and landscapes in North America. The manuscripts largely concern Whitefield's travels in Minnesota, Wisconsin, and the Dakota Territory, as well as Whitefield's interest in the Bible.

This collection (approximately 200 items) contains 24 manuscript essays and writings, original artwork (approximately 40 items), and around 140 printed proof sheets by artist Edwin Whitefield between the 1840s and 1880s. The collection also includes 2 autograph albums that Mabel Whitefield kept between 1876 and 1883.

The Manuscripts series (24 items) contains essays, charts, notes, and fragments; a draft of Edwin Whitefield's The Bible Its Own Interpreter; and 2 autograph albums kept by Mabel Whitefield. The essays mainly relate to Whitefield's travels in Wisconsin, Minnesota, and the Dakota Territory in the 1840s and 1850s; Whitefield described landscapes, and some of his writings refer to specific drawings. A series of essays concerns immigration to Minnesota, including several short pieces about opportunities for settlers. Whitefield's other writings include an argument for increasing workers' wages; a letter about his son's conduct; notes about the Bible; 2 manuscript tables of the populations of major U.S. cities at each national census between 1790 and 1890; and a copied extract from the Encyclopedia Britannica about Moses.

Edwin Whitefield's The Bible Its Own Interpreter manuscript (approximately 220 pages) is made up of notes and clippings about passages from scripture and Biblical subjects. The volume contains a preface, index, and printed title page. Mabel Whitefield kept her 2 autograph albums, which contain inscriptions and poetry from family and friends, between 1876 and 1883.

The Original Artwork series is made up of Edwin Whitefield works, including 2 oil paintings; approximately 35 graphite, ink, and watercolor sketches; and 2 sketchbooks. One oil painting (1885, 20"x16") is a country landscape with a man herding cows over a bridge. The other painting (undated, 30"x20") is a mountain landscape, with a man and cows resting beside a river or lake. Approximately 35 individual graphite, ink, and watercolor sketches depict houses, bridges, landscapes, and buildings. Whitefield identified many of the views as locations in Massachusetts and New Hampshire. Edwin Whitefield's 2 sketchbooks contain illustrations of buildings, persons, and bird's eye views of cities and landscapes.

The Printed Items series includes proof sheets from the 1880, 1882, and 1889 editions of The Homes of Our Forefathers (approximately 75 colored or tinted lithographs), approximately 65 colored lithographs of botanical specimens by Whitefield, and one printed view of Newburyport, Massachusetts.

The collection focuses primarily on John Tailyour, a Scottish merchant who traveled to North America and Jamaica in the 1770s and 1780s to conduct business, before finally returning to his home in Scotland in 1792. His correspondence is heavily business related, centering especially on his trading of slaves, foodstuffs, and sundry goods. It also chronicles the current events in both Jamaica and the Empire. Many of Tailyour's correspondents debate the meaning and merit of the cessation of the slave trade in the late 18th century, as well as the military events of the American and Haitian revolutions, and of the Maroon rebellion of 1795. The papers also include letters between John and his family in Scotland regarding John's mixed-race Jamaican children. He sent three of his children to Britain to be educated, which caused much family concern. Tailyour's account books and financial papers relate both to his Jamaican estate and business, and to his Scottish estate, from which he received added income from rents. The accounts for this estate continue for several decades after Tailyour’s death in 1815. A number of disparate and miscellaneous letters, war records, photographs, and realia that belonged to various members of the extended Tailyour family date mainly from the late-nineteenth and early-twentieth centuries.

The collection has three substantial parts. The most comprehensive and cohesive section is the one concerning John Tailyour, until his death in 1815. The second part contains business papers and accounts related to the Tailyour estate. The third part is the least integrated, and consists of a variety of family papers, photographs, military memorabilia, and other miscellanea.

The Tailyour papers date from 1743 to 2003, with the majority of the collection concentrating in the period from 1780 to 1840. Within these bulk dates, are the two largest portions of the collection: the correspondence and accounts of John Tailyour until his death in 1815, and the account records of the Tailyour estate after 1815.

Seven boxes contain John Tailyour's personal and business correspondence of 3757 letters. The letters focus on Tailyour's mercantile activities in the Atlantic market, especially on the slave trade, its profitability, and the threat posed by abolitionists. Tailyour's correspondence also chronicles personal and family matters, including the education and provision for his mixed-race children from Jamaica. In addition, the collection contains four of Tailyour's letter books of 1116 copies of retained letters that cover the period from 1780 to 1810, with the exception of the years 1786-7 and 1793-1803. In these letters, Tailyour's focus is business, particularly as it relates to the slave trade, but he also includes personal messages to his friends and family.

Tailyour's business papers contain 32 loose account records, as well as five account books documenting the years between 1789-90 and 1798-1816. These primarily concern his Kingston and Scottish estates, including the expense accounts and balance sheets for each, as well as the finances of his merchant activities during the period. Finally, 38 documents of probate records for John Tailyour mainly relate to his landed estate.

The latter portion of collection within these bulk years (1815-1840) also contains correspondence and accounts, although the 228 letters are almost entirely concerned with business accounts. These focus on Tailyour's estate after his death, with John's brother Robert as the main correspondent. Additional materials include 1761 business papers that chronicle the finances of the estate, 11 account books, and 6 hunting books. The business letters and account books detail the estate's expense accounts and receipts, as well as the balances for their annual crops, salmon fishing business, and profits derived from the rents collected on their land. The hunting books contain descriptive accounts of the family's hunts and inventories of their hunting dogs.

The third, and final, part of the collection consists of Tailyour family records (bulk post-1815), including 49 letters from various family members in the late-nineteenth and early-twentieth centuries and five letterbooks, kept by Alexander Renny Tailyour and Thomas Renny Tailyour. 4 account books are also present kept by Alexander Renny Tailyour and others. Some of the records concern the First World War, including a group of prisoner-of-war records sent from Germany, and journals kept at home that detail news of the war, and daily domestic activities.

The family history documents include 64 genealogical records and 58 probate records. Many of the genealogical items are brief notes on family history, and sketches of the family tree, including a large family tree that spans several hundred years to the present day. The probate records contain one will from the late-nineteenth century, but are otherwise entirely concerned with John Tailyour's estate in the years immediately after his death.

Of the printed records, Memoirs of my Ancestors (1884), by Hardy McCall is a genealogy of the McCall family, and Tailyour's Marykirk and Kirktonhill's estates are described in two printed booklets, one of which is an advertisement for Kirktonhill's sale in the early-twentieth century. Other printed material includes 14 various newspaper clippings concerning the family over the years, and 12 miscellaneous items.

The illustrations, artwork, and poetry comprise 14 fashion engravings, 12 sailing illustrations, a picture of a hunting cabin, two silhouettes, and a royal sketch, all of which date from the early- to mid-nineteenth century. Kenneth R. H. Tailyour's sketches are represented in two sketch books created in his younger years (1917 and 1920). Loose records of poetry, as well as a book of poems from George Taylor, are in this section.

The 221 photographs are of the Tailyour family from the late-nineteenth to the twentieth century, with the majority falling in the early decades of the twentieth century. Most are portraits of the Tailyour family from the early twentieth century, particularly Kenneth R. H. Tailyour.

The 138 pieces of ephemera are, for the most part, postcards of foxhunts during the nineteenth century. These announce the almost-weekly family foxhunts during the middle years of the nineteenth century. The 19 items of realia, include Robert Taylor's quill pen from 1826.

The audio-visual portion of the collection contains three items: a compact disc with an audio interview of John Dann, Director of the Clements Library, on National Public Radio's "The Todd Mundt Show;" a compact disc with photos of the West Indies; and a collection of photographs of the Tailyour papers in their uncatalogued state, and of the festivities surrounding the acquisition of the collection.

Finally, miscellaneous material of 18 pieces includes Robert Taylor's commonplace book of short stories, letters, and poems; the catalogue of Robert Taylor's books; James Tailyour's 1771 style and form book; and a communion book.

The Thomas Smith collection includes a disbound sketchbook of eighteen watercolors and six drawings depicting scenes in the northeastern United States and Canada made between 1820-1826 as well as three letters written by Smith between 1820-1822.

The Thomas Smith collection includes a disbound sketchbook of eighteen watercolors and six drawings depicting scenes in the northeastern United States and Canada made approximately between 1820-1826 as well as three letters written by Smith between 1820-1822.

The Visual Materials series contains eighteen watercolors and six drawings from a disbound sketchbook that depict scenes in the Eastern United States and Canada. While the watercolors and drawings themselves contain no exact information on their precise dates of creation, there is one unfinished pencil sketch of Fort Niagara that shows architectural features that were only in place from 1818 to 1823. Additionally, two pages contain watermarks in the paper that read "Turkey Mills J. Whatman 1818," while an inscription on the inside of the detached front cover also reads: "Thomas Smith. American Sketches 1820 to 1826." Smith is known to have made one trip to New York in the late spring and summer of 1820 and also returned from another trip there in the fall of 1821. Although presumably an amateur artist, Smith showed an uncanny eye for accurate detail, a keen ability to depict the scale of landscapes, and a vivid sense of color and light.

• 1) [Unidentified building] (fragment on oval sheet; pen and ink)
• 2) [Portrait of unidentified man] (fragment; pencil)
• 3) Point - Entrance of Chaudiere (pen and ink)
• 4) Palmetto trees East side Sullivan's Isld. South Carol,,a
• 5) Wappoo, Cooper River, S. Carolina
• 6) [Niagara Falls]
• 7) River Delaware. Fort Gaines to the left, to the right Fort Mifflin
• 8) [Presumed to be Delaware River]
• 9) Unfinished
• 10) [Niagara from the American side]
• 11) [Estuary with a Rowing Boat]
• 12) [The Mouth of the Niagara River at Fort George, Ontario] (pencil)
• 13) [Quay on an Estuary]
• 14) [Thousand Islands, Ganaoque (near Kingston), Ontario]
• 15) Cohos Falls, Mohawk River
• 16) [Niagara Gorge from Goat Island]
• 17) [Hudson River landscape]
• 18) Entrance of the Patapsco River into Chesapeake Bay near Baltimore Maryland
• 19) New York Harbor
• 20) [Queenston Heights - looking down the Niagara River towards Lake Ontario]
• 21) [New York Harbor]
• 22) [Town on an Estuary] (pencil)
• 23) [Niagara Falls from below]
• 24) [Landscape with a Waterfall] (pencil)

The Correspondence series contains three letters written by Thomas Smith to family members. The first letter, dated April 1820, is addressed to Smith's sister Eliza Elizabeth "Betsey" Smith (1802-1876) and bemoans her general lack of communication before discussing differences between American and English women, mentioning acquaintances including a "Mr. Lucas" and a "Mr. and Mrs. Maxwell", and describing events related to the wedding of a "considerable" rice planter and "Miss Lucas...now Mrs. Cordes" that took place in Charleston, South Carolina in March. This was likely the wedding of James Jameison Cordes (1798-1867) and Mary Lucas (1802-1873). Smith also makes reference to a bridesmaid named "Miss McLeod...a lady of large fortune worth as these things are estimated in S Carola: 300 negroes" while stating that "negro servants" accompanied the wedding party on horseback on their way to Middleburgh plantation. The second letter, also dated April 1820, is addressed to Smith's brother Joseph Smith VI (1800-1876) and contains a description of deer hunting conducted in the "American mode" in which several concealed hunting stands were occupied "100 to 150 yards apart" before "the negroes are sent with the hounds to drive the swamps or ponds where the deer generally conceal themselves." Smith elaborates on an unsuccessful hunting trip led by a planter named "Mr. Bryan" in which the party consisted of "Mr. Bryan, Mr. Lucas, Mr. Cordes, Mr. Hume & myself, with 2 negro slaves, all on horseback" during which Smith and Mr. Hume managed to become briefly lost in the woods. Also included are mentions of various wildlife encountered in the countryside, references to regional flora Smith intends to procure seeds of, and a description of typical South Carolinian cuisine had for breakfast, lunch, and dinner during different times of year. The third letter, dated February-March 1822 and partially written from aboard the steamship Robert Fulton while in the Gulf of Mexico, is addressed to Betsey (now "Mrs. Alfred H.") at "Messr: Jos. Hardcastle & Sons London." Betsey married Alfred Hardcastle (1791-1842) in 1821. This letter describes Smith's return to Charleston in Novemeber of 1821 following a trip to New York, spending the Christmas holiday period at Mr. Lucas's plantation, a four-day excursion in Havana, Cuba, made during the present voyage while en route from New Orleans to Charleston, and avoiding a close encounter with a "suspicious looking Schooner" off the Cape of Florida.

The Emil Smith sketchbook, titled "Specimens of Designs for Carving in Ivory," contains pencil drawings of decorative picture frames, canes, swords, and hand-mirrors, as well as deer, dogs, and scenes of Civil War camps and soldiers. Included in the sketchbook are lithographs of various cities and buildings in Germany.

The Emil Smith sketchbook contains 38 pages filled with pencil drawings and pasted lithographs. The inside cover includes a modern reprint of a carte-de-visite of a soldier holding a bugle, identified as Lou Smith. The first page indicates that the sketchbook belonged to Emil Smith, which he titled, "Specimens of Designs for Carving in Ivory." This page also includes an image of Lady Columbia about to stab a cougar, along with a note that Emil Smith was a member of Company G of the 39th Ohio Volunteer Infantry.

Many of the sketches are of deer and dogs and decorative frames with leaves and vines. There are also sketches of a woman wearing gold jewelry, anatomical sketches of arms and legs, an angel in a cup, female hair pieces, and the handles of swords and canes. Of note are multiple sketches depicting various scenes of the Civil War, including a bird's-eye view of Camp Dennison near Cincinnati, Ohio, unidentified barracks, a scene of camp life titled "Fair Ground Near Memphis," and a sketch of an African American soldier. The sketch of the soldier is based on an illustration from Harper's Weekly from July 2, 1862. The article accompanying the illustration, "The Escaped Slave and the Union Soldier," describes the life of an escaped slave from Montgomery, Alabama who joined the Union Army. The soldier's name was not mentioned in the article, however, the soldier has later been identified as Hubbard Pryor.

Also included in the sketchbook are many lithographs of water scenes, city buildings, castles, and cathedrals in various locations in Germany, including Andernach, Bacharach, Koblenz, Mainz, Nonnenwerth, Wiesbaden, and Worms.

The Harry A. Simmons journal and sketchbook contain diary entries and sketches relating to the Union Navy service of Simmons onboard the schooner Sophronia, particularly his involvement in the New Orleans and Vicksburg campaigns.

The Harry A. Simmons journal contains 58 pages of entries, and his sketchbook includes 117 individual sketches on 57 pages. The journal, which is entitled "Journal of a Cruise on the U.S. Schr. 'Sophronia'," contains lengthy and informative entries covering December 30, 1861-July 30, 1862. Simmons sent it home in several parts to his wife, in order to keep her abreast his activities and wartime experiences. The journal describes Simmons' adjustment to life on the sea, his duties on the ship, various locales in Florida and Mississippi, and several naval engagements, including participation in the New Orleans and Vicksburg campaigns.

Early entries reflect Simmons' initiation into life on the sea and his interest in the marine life that he and his shipmates encountered. On February 7, 1862, he wrote that he lacked "acquired or even instinctive 'sea larnin'," but noted the "fine qualities" of the Sophronia. A few days later, he described fishing for kingfish and seeing dolphins, coral, and sponges from the ship (February 11, 1862). He also described the hardships of life on the sea, including the sky-high prices of produce, eggs, and milk, which the sailors bought from sea-faring merchants (June 10, 1862); the dangers caused by drunken shipmates (February 19, 1862; March 15, 1862); and several outbreaks of illness. In another entry, he noted that he was glad to see a group of dolphins because they made good food, but unlike his shipmates, refused to eat sharks because he held a "prejudice" against them (July 27, 1862).

Simmons also wrote entries concerning the Sophronia's movements and engagements. On February 19, 1862, he noted that "gradually our end of the harbour is filling up" as the ships gathered to form a mortar flotilla under Captain David Dixon Porter near Key West, Florida. On their way west, the crew captured a southern ship with 400 bales of cotton and took a frightening-looking prisoner onboard (March 16, 1862). Around this time, Simmons also noted an overwhelming feeling among his shipmates that "we are the victims of a system of poor generalship" and commented that many of them spoke of resigning from the service (March 23, 1862). By the time the Sophronia reached the Mississippi River, engagements became increasingly common. On April 16, 1862, Simmons described a Confederate "fire raft," which had been filled with combustibles and sent downstream "to drift against our vessels & if possible encircle some of them in a warm embrace." Several days later, he gave an account of the bombardment of Forts St. Philip and Jackson, noting the glow in the sky from widespread burning and estimating that the flotilla had fired a total of 2000 shells (April 18, 1862). The next day, he described seeing a shell hit the Winona and several men die from the explosion. Simmons also described his participation in the Siege of Vicksburg, including rumors of raging fires (June 28, 1862), skirmishes and picket fighting (July 2, 1862), and his being constantly on guard. On July 6, 1862, he noted that he had grown so accustomed to the sound of firing that he no longer noticed it.

Simmons gave detailed descriptions of a number of locales. On March 21, 1862, he described Pilottown, Louisiana, as generally deserted, but noted that one house contained a family claiming to be loyal to the Union. Shortly after the bombardment of Fort Jackson, he and a few other officers were able to observe the wreck of Fort Jackson, which he called the "most terrible destruction." On a second visit to Ship Island, Mississippi, he noted that it had grown, with many new storehouses, workshops, and hospital sheds (May 8, 1862).

The diary also provides insight into the duties of a surgeon's steward and the medical issues that arose onboard the Sophronia. These included the difficulty of obtaining certain kinds of medicines (February 16, 1862), the problem of treating outbreaks of illnesses (July 13, 1862), and a description of a funeral and the burial of a sailor at sea, wrapped in his hammock (July 22, 1862). By July 29, 1862, Simmons noted that 15 of the 32 crew members, including himself, had become ill and he reluctantly tendered his resignation and went to the hospital. The diary closes with an entry noting that he had arrived at home with his family and that he hoped "to recover my lost health" (August 26, 1862).

Accompanying the journal is Simmons' sketchbook, containing 57 pages and 117 individual pencil and watercolor sketches. Subjects include ships he encountered, military activities, southern scenery, sailors, civilians, and buildings. The locations that Simmons drew include plantations and homes in Baton Rouge, numerous views of Vicksburg, Fort Adams, and the U.S. Naval Hospital in Portsmouth, Virginia. In several drawings, he depicted African Americans, including a contraband escaping from Vicksburg by riding a log down the Mississippi, a dog and a soldier playing together (labeled "Cuffee & Sambo"), a man in a sailor suit, and a group of women laundering clothes over a fire in Baton Rouge. Simmons also drew numerous military scenes, frequently teeming with detail. He depicted "fire rafts," a shelling by the Union Navy, the Sophronia "in fighting costume," an interior view of Fort Jackson, and the entrance to Fort St. Philip. Pasted into the sketchbook is a printed version of a sketch by Simmons, entitled "Attack on Vicksburg, Miss., by the Gun Boats and Mortar Fleet…"

As a youth, Cletus Setley of Reading, Pennsylvania, kept this 31-page sketchbook around the period of the American Civil War. He created pencil doodles, pencil sketches, and pencil and watercolor illustrations of people, ships, caricatures (including anthropomorphic creatures), and a possible story narrative. One page is headed "1864 Members of Company," including Cletus Setley and other names organized by military rank. The volume has brown leather wrappers, and the cover reads, "No. 1 Meredith Henderson & Co."

As a youth, Cletus Setley of Reading, Pennsylvania, kept this 31-page sketchbook around the period of the American Civil War. He created pencil doodles, pencil sketches, and pencil and watercolor illustrations of people, ships, caricatures (including anthropomorphic creatures), and a possible story narrative. One page is headed "1864 Members of Company," including Cletus Setley and other names organized by military rank. The volume has brown leather wrappers, and the cover reads, "No. 1 Meredith Henderson & Co."

• Woman doing laundry/ holding washtub
• A person on horseback
• A building [bearing a similarity to John Setley's storefront]
• Woman holding a key next to a door marked "East," beside a small anthropomorphized quadruped
• Male performer or dandy
• Red and blue block text, "UNION"
• Ships in the shape of a horse, with men holding spears and shields
• Hunter aiming a gun at a stag
• Hunters shooting at elephants
• American sailing ships
• People and anthropomorphic creatures
• Man fleeing from dark-skinned persons armed with spears and other weapons
• Shipwrecks
• A lifeboat
• A storefront with a sign reading "JOHN SETLEY" listing flour, seed, and other dry goods
• Sidewheel steamboat
• One page of caricatures, anthropomorphic beings, women, witches, and devils
• Self-portrait, "The names of my valentines Squirt irish women & the Laundry women & to a Zouvave [Zouave] stingy man & the gallent [?]ing the [queshten?] grocer & long shanks"
• Self-portrait and building
• Sketch of a woman with a pipe in her teeth, labelled "IRISH WOMAN". On the same page is a pencil sketch of what may be a quilt block design.
• Performers, possibly for a circus or side-show

A few of the pencil and watercolor illustrations appear to relate to a story of hunters, possibly in Africa, their encounters with indigenous peoples, and a subsequent shipwreck.

The collection consists of hand-made sketchbooks and loose sheets of paper featuring drawings likely made by children Edith, Jennie, and Theodore Pond while residing in Syria (present-day Lebanon) with their missionary parents, Theodore S. Pond and Julia Pond. Prominent imagery depicted includes domestic scenes, women and children at work and play, and women tending to the sick. The Ponds rarely specified locations in their drawings, and while they may have been generic or imagined scenes some may have been made to reflect the Pond family's residence or experience while in Syria (present-day Lebanon).

The collection consists of hand-made sketchbooks and loose sheets of paper featuring drawings likely made by children Edith, Jennie, and Theodore Pond while residing in Syria (present-day Lebanon) with their missionary parents, Theodore S. Pond and Julia Pond. Prominent imagery depicted includes domestic scenes, women and children at work and play, and women tending to the sick. The Ponds rarely specified locations in their drawings, and while they may have been generic or imagined scenes some may have been made to reflect the Pond family's residence or experience while in Syria (present-day Lebanon).

The bulk of the drawings were done in pencil, but several were made using pen and ink, pen and wash, and pastels. A large portion of the images depict interior domestic scenes of women and young girls reading, sewing, dining, visiting, sleeping, and at play with toys in parlors, living rooms, and bedrooms. These drawings include details like clothing, accessories, furniture, and decorations. Several show women wearing the Christian cross as jewelry, head coverings or veils, and chopines (a platformed shoe), possibly representing adherents of the Eastern Orthodox Church. Several of the drawings feature women at work doing tasks like cooking, sewing, washing dishes or floors, sweeping, gardening, tending to the ill, or bathing children. Older women are represented alongside middle-aged women, young girls, and infants. Adult men and young boys appear occasionally in the scenes.

Several illustrations appear to show women laboring as domestic servants, and at least four of these images represent dark-skinned women. One additional drawing shows a family scene with three dark-skinned women knitting or resting in a hammock.

Outdoor scenes are also represented, showing women and children walking and travelling in the streets, playing games, visiting the beach, riding horses, shopping, sleighing, or picking fruit. One drawing depicts a family standing beside a sphinx with pyramids in the background. Other locales outside of the home are also featured, including a store, a church, a theater, a photographer's studio, and possibly a school.

Miscellaneous other topics were drawn, such as angels, Grecian women, a dream, a centaur statue, a shield with an American crest, and two singing girls who appear to be impoverished.

Only two of the drawings were signed, both landscapes by Theodore H. Pond, one dated 1882 shows a building in the countryside and the other depicts a village street scene leading towards a church. Two other unsigned landscapes are also present, one labelled "St. Augustines Canterbury." Two other illustrations -- one a portrait of a young woman and the other an interior scene with four children blowing bubbles-- have the name "Edith" inscribed with ink on the verso. Several of the drawings were labelled by a child in block letters. One of the drawings was made on a sheet of paper that had previously been used to write notes on the Letters of Paul.

The drawings were enclosed in an Upsala College envelope labeled: "'Drawings of Edith & Elsie Pond when they were little girls in Syria.' (Be Sure To Save These)"

The Thomas Caldwell Moore sketchbook is made up of twenty-two images on nineteen loose, encapsulated pages as well as the original cover boards and binding. The back of the original front cover board of the sketchbook includes the penciled inscription: "Sketch Book, New York -1865, T.C. Moore of Allegheny Arsenal Pittsburg, Pa." Three pages have images on both sides. The creator of the sketchbook has been identified as Thomas Caldwell Moore (1825-1886). The sketchbook contains pencil and watercolor landscape views of rivers, shorelines and towns from ca. 1865. Locations represented include the Shenandoah Valley, the Allegheny River, and New York City. One sketch (image #2), titled "U.S Rifle Factory on the Shennandoah" is likely to be Harpers Ferry Armory.

The Thomas Caldwell Moore sketchbook, housed in a blue tray case with gilt lettering on the spine, is made up of twenty-two images on nineteen loose, encapsulated, pages as well as the original cover boards and binding. Three pages have drawings on both sides. The back of the original front cover board of the sketchbook includes the penciled inscription: "Sketch Book, New York -1865, T.C. Moore of Allegheny Arsenal Pittsburg, Pa." The creator of the sketchbook has been identified as Thomas Caldwell Moore (1825-1886). While only two of the drawings are individually dated (both 1865), given that the date on the inside of the front cover matches the two dated sketches it can be assumed that the sketchbook contains pencil and watercolor landscape views of rivers, shorelines and towns from ca. 1865. Nine of the images include titles, many of which are in ink written over pencil, indicating the location the sketch depicts. Locations represented include the Shenandoah Valley, the Allegheny River, and New York City. One sketch (image #2), titled "U.S Rifle Factory on the Shennandoah," is likely to be Harpers Ferry Armory.

The Richard P. Mallory sketchbook contains 80 pages of complete and incomplete sketches of various landscapes and buildings in Vermont and New York, drawn between 1855 and 1857.

The Richard P. Mallory sketchbook contains 80 pages of sketches of various landscapes and buildings in Vermont and New York, drawn between 1855 and 1857. Manuscript inscriptions on the inside cover indicate that the sketchbook belonged to R.P. Mallory and was rebound in 1888. A brief index is included in the front with the locations of many of the subjects in the sketches. The pages are inconsistently numbered, and not all pages contain drawings. Many of the drawings are incomplete. Captions and dates are included with most of the sketches, many containing the location of the subject in the drawing. These subjects are from various villages and cities in Vermont, including Burlington, Fairfield, Saint Albans, and Winooski. New York views include Dannemora, Keeseville, Malone, Ogdensburg, Plattsburg, Redford, and Rouses Point.

There are many detailed sketches of buildings: churches, schools, homes, hotels, banks, court houses, and train depots. There are also many landscape sketches, depicting farms, lakes, rivers, trees, mountains, and waterfalls. Of note are sketches of the Ausable River, including the Ausable Falls and Devil's Oven, on pages 74 to 87. Two ports are also depicted, Port Kent in Burlington and Port Jackson in New York.

Pages 30 to 44 are devoted to the Franklin sawmill in Plattsburgh, noted as the "largest mill in the state of New York." Included are views of the interior and exterior, and an introductory page with a history and details of the mill. Great attention is also given to the Clinton Prison and its related mining operations in Dannemora, New York, spanning pages 96 to 103. Of note are an overview of the prison facility and striking views of underground mining operations.

The style of the drawings throughout the sketchbook suggests the occasional use of an optical device such as a camera obscura.

The John V. Lansing papers document the life of Lansing, particularly his medical education and work in New York State Asylums.

Although a small collection, the Lansing papers contain a varied array of materials: 38 pieces of correspondence between Lansing and various family members, journals of his trips to Europe and to South America, journals of his medical training, assorted poems and Valentine poems by Lansing, his sketchbook and several loose pencil sketches, the text of his graduation speech from Rutgers, a lecture on "thought and thinking" which he delivered in 1848, his estate inventory, a few receipts and business letters, miscellaneous correspondence between other family members, an autograph book and theme book which probably belonged to a niece, 11 unidentified photographs, part of a magazine article depicting the Lansing family homestead, and a few pieces of peripheral miscellany. (The sketch book, autograph book, and European diary have been removed to a separate pamphlet box.) Also included in an introductory folder are obituaries of Lansing, his article on frogs, and published proceedings of the Albany Medical Society which record his participation.

This collection is not as rich in research potential as one would hope, given the subject's varied travels and career changes as documented in the manuscripts. Most of the correspondence and journals are revealing of Lansing's personality, opinions, and philosophy rather than abundant with details on places, people, and activities. One comes to know the man intimately, but not to be able to place him very confidently in a social and professional context.

Probably the greatest value of the papers is in the information which can be gleaned from them on medical education and practice in the mid-to-late nineteenth century. Lansing's medical school journals, especially the section covering his training at Bellevue Hospital in New York City (1853 June 27-December 17), are full of details on medical lectures, learning how to diagnose and treat various diseases and conditions, the performance of autopsies, surgical procedures (especially gynecological operations), and pharmacology. Given Lansing's analytical and opinionated nature, these depictions are often both informative and insightful as to the nature of medical science during this era. He writes on August 2, 1853: "I attended a part of Motts Clinique at the University and saw some noteworthy cases. He ordered a plaster over a sore breast and said when the patient had retired that was always his way when he didn't know what a thing was to cover it up with plaster and spoke of it as a rule to be adopted in life to cover up what we don't understand with plasters. I don't exactly like the principle." Lansing also includes in this journal segment a horrifying description of a woman's death of gangrene of the intestines after surgery for an ovarian tumor -- highly evocative of the primitive nature of surgery and infection prevention in this period.

The European and South American journals also contain some material on hospital conditions and medical training and practice, specifically in Paris, Montevideo, and Buenos Aires. There is an interesting account of Lansing's unsuccessful treatment of a tuberculosis patient while ship's physician on the "Seaman," and of the man's subsequent death and burial at sea. The correspondence covering Lansing's years of practice as physician at two insane asylums and at Clinton State Prison are disappointing in their lack of detail on medical practice; only a few general descriptions and anecdotes on patients and incidents are provided. Published accounts of his participation in the Albany County Medical Society, however, are more informative, for they present case studies which illustrate typical diagnoses and treatments of various illnesses.

Interesting minor sidelights of the collection are descriptions of the manufacture of an artificial arm for Lansing's brother-in-law, and some technical details about a candle making process involving lard-oil which, through his studies in chemistry, he was helping a friend to develop. Lansing's poetry also constitutes a minor but entertaining resource, for it exemplifies the sentimental nature of social and literary expression in this era, as well as revealing the author's wit and style.