Collections : [University of Michigan William L. Clements Library]

This collection is primarily made up of Benson J. Lossing's incoming and outgoing correspondence concerning his writings about and interest in numerous subjects in American history. Essays, newspaper clippings, and ephemera are also included.

This collection is primarily made up of Benson J. Lossing's incoming and outgoing correspondence (179 items, 1850-1904) concerning his writings about and interest in numerous subjects in American history. Essays, newspaper clippings, and ephemera are also included (18 items, 1849- ca. 1884).

The Correspondence series (179 items) mostly contains incoming letters to Lossing about his career as a historian. Some writers thanked Lossing for sending them copies of his books or otherwise commented on his works, such as his Pictorial Field-Book of the War of 1812. Others offered biographical details on historical figures, notes on family genealogies, and information about historical events. Some older correspondents provided firsthand accounts of events, and other writers shared information about potential primary source material. The American Revolutionary era and War of 1812 were common topics, though at least one letter was written during the Civil War. Historical figures discussed included John André and Oliver Hazard Perry; one man wrote about busts of George Washington at Mount Vernon. Some authors enclosed newspaper clippings in their letters, and two made drawings: one of an unidentified building (June 2, 1851) and one of the grave of James Ross (May 11, 1852). One letter from a publisher postdates Lossing's death.

Benson Lossing wrote occasional letters about his work, and at least one of his letters contains a printed form letter requesting historical information.

The Writings and Biographical Sketches (8 items) are brief essays about historical topics, mostly in Benson J. Lossing's handwriting. Subjects include copied inscriptions from a monument marking the Battle of Red Bank and biographies of Colonel Anthony White, William H. Winder, and Alexander Lillington. One item is a copied "Parole of Honor," with Lossing's added notes on some of its signers. Two signed manuscript drafts of articles include "The British Flag and the American Sailor Boy," which was later published as "Anna Van Antwerp and John Van Arsdale" in the Christian Union, and "Mr. Lincoln A Statesman," which appeared in Osborn H. Oldroyd's The Lincoln Memorial: Album-Immortelles. An essay about William H. Winder is attributed to Mrs. A. W. Townsend of Oyster Bay, New York.

The Printed Items series (10 items) is comprised of programs, newspaper clippings, obituaries, a chapter in a published volume, and engravings. One clipping is a reprint of an article written by Benson J. Lossing.

This volume contains the text of two debates held by a debating society during the latter half of the nineteenth century. The society compared the relative merits of George Washington and Abraham Lincoln and discussed whether men and women have equal mental capacities.

This manuscript book of a late 19th-century meeting of an unknown debating society contains the text of two debates. The first argument (76 pages) was to debate whether George Washington or Abraham Lincoln was "the greater man." Individual speakers, whose names have often been added in pencil, are identified as supporting either Washington or Lincoln. Those who advocated for Washington concentrated on his military service and his role in establishing the United States. One repeated argument in his favor, for example, was his refusal to accept a royal title after leading the Continental Army to victory over British forces. Those who favored Lincoln focused on his character, decisions made during the Civil War, and eventual martyrdom. The matter was taken to a vote following an argument that both presidents deserved to be lauded. The middle of this debate is marked by a brief foray into Constitutional issues, particularly the advisability of introducing amendments, though the argument soon returned to its original topic. An additional argument in favor of Washington, written on a separate piece of paper, is placed inside the book's front cover.

• "Abraham Lincoln: Lord of Himself, Leader of Others," laid into the front of the volume (undated)
• "Dallas Academy and Washington's Birthday," containing the program for the Philomethean Society's celebration of George Washington's 152nd birthday, pasted into the volume (1884)
• "Stand Points in the Life and Times of Washington," containing extracts from a speech delivered by Erastus Brooks on February 22, 1866, pinned into a page in the volume (undated)
• "Washington's Birthday," commemorating the 153rd anniversary of George Washington's birth, pasted into the volume (1885)
• Untitled article examining aspects of Abraham Lincoln's character, pasted into the volume (undated)

The second debate (50 pages) concerned a comparison of the "Mental Capacities of the Sexes," specifically whether the minds of women are equal to those men. After heated debate, centered on the more prominent historical roles of men and the impact of women in the domestic and maternal spheres, the group decided overwhelmingly ("Loud cries of All, All") that the genders did share equivalent mental capacities. This debate was briefly interrupted following a general outcry over contentious remarks made by a man named Spooner.

The Parrish family photograph album contains 110 photographs assembled by the Parrish family of Philadelphia, Pennsylvania, including images of family and friends, political figures, celebrities, and popular illustrations as well as photographs related to Union efforts to educate freed slaves during the Civil War in the Port Royal Experiment.

The album (15.5 x 24 cm) has embossed brown leather covers and two metal clasps. 63 loose photographs are stored in Mylar sleeves and many appear to have been separated from the album over time. In some cases, it is possible to match loose images with a specific page slot through pairing inscriptions on the photograph with annotations present in the album. However, many loose images do not contain any identifying information, so it is unclear where some may have been located within the album or if they were ever associated with the album in the first place. It is possible that a small portion of the loose images were never originally included in the album since there are more photographs present in the collection than there are available photo slots in the album. At least two portraits from the 1890s do not appear to have belonged to the original family collection.

Compilation of the album may have first begun in the 1860s, but it was most likely completed during in the 1870s with photographs that the Parrish family had acquired over time. Sarah H. Parrish, née Wilson (1836-1892), the wife of Joseph Parrish’s grandson John Cox Parrish (1836-1921), may have been one of the primary creators of the album. She and John had a daughter named Caroline L. Parrish (1863-1915), who may be the “Carrie” whose name is written on the back of some of the photographs. Overall, there appear to be three different styles of handwriting present in the album. Captions for several of the album’s portraits were made in pencil in a flowing cursive while other names appear in a more juvenile-looking cursive hand, and a distinctive third hand also appears sporadically. The two cursive hands may well have been Sarah’s and Carrie’s as mother and daughter worked on the album together in the mid to late-1870s, with an occasional contribution (the third hand) possibly made by one of Carrie’s three younger brothers. One other detail supports this hypothesis: a portrait labelled “Fred” with “Mrs. Parrish, with love of Fred” inscribed on the verso. The individual photographed here was most likely Sarah’s cousin, Frederick Cleveland Homes (1844-1915). Additionally, the portrait on the page next to Fred’s portrait is of a young child identified as “Charlie Homes,” and it is likely that this is Fred’s son Charles Ives Homes (1872-1939).

Parrish family members are well represented in this album, while other unidentified family members may also be portrayed in some of the loose photographs without captions. Likely family friends or acquaintances of the Parrishes whose portraits are present include George and Catherine Truman, James and Lucretia Mott, the Rev. Richard Newton, and Phillip Brooks, all of whom were active in the same abolitionist organizations as the Parrishes. The album also contains many images of admired religious, political, and cultural figures, including Quaker heroes George Fox and Elizabeth Fry; Civil War leaders Abraham Lincoln and Ulysses Grant; George and Martha Washington; social reformers Dorothea Dix and Anna E. Dickinson; actor Edwin Booth; and Queen Victoria and Prince Albert. A number of these images are photographic reproductions of painted, engraved, or lithographic portraits. Also present are four hand-colored photographs of Dutch women in traditional dress as well as photographic reproductions of popular sentimental genre scenes such as “The Unconvanience of Single Life.”

Of particular note are a series of photographs related to the Port Royal Experiment, an ambitious effort to provide education for freed slaves following the capture of islands off the coast of South Carolina by Union troops in 1861. Relief committees in the North raised money and sent volunteers to set up schools and other institutions. Among the most successful was the Penn School, established by Laura Matilda Towne with support from the Philadelphia Freedmen’s organization in which the Parrish family was actively involved. People and places are identified with ink captions on the photographs themselves in a hand that differs from other inscriptions in the album. Towne may possibly have compiled these images herself and sent them to supporters back home. This series of photographs includes seven images of Beaufort, South Carolina, (four of which were produced by Sam A. Cooley, photographer to the Tenth Army Corps) captioned “Beaufort Soldiers’ Chapel and Reading Room,” “Path to the river of Smith’s Plantation,” “Beaufort House / Where we Stopped, showing the Beaufort Hotel and nextdoor office of the Adams Express Company,” “Soldiers’ Graves,” “Gen. Saxton’s Headquarters,” “Father French’s House,” and “Our House.” Three cartes de visite produced by Hubbard & Mix show instructors Towne, Ellen Murray, and Harriet Murray respectively posing with freed black children. The photograph with Ellen Murray bears inscriptions identifying her students as “Peg Aiken” and “Little Gracie Chapin (one of Miss Murray’s brightest pupils).” A fourth Hubbard & Mix image captioned “I’m a freeman” shows an African-American man dressed in clothing made from rags and includes an album page inscription that reads: “Young Roslin says, ‘Now I’m free, I go to bed/ when I please I’se gits up/ when I please. In olden times/ I’se help gits de breakfast/ but no’se time to eats it myself/ Ha-ha-I’se happy boy now.” Also present are three cartes de visite produced by photographers based in Nashville, Tennessee, including one portrait by T. M. Schleier of an African-American woman with two children (one of whom has a much lighter complexion than the other) with the recto caption “Lights & Shadows of Southern Life” and verso caption “Aunt Martha and children/ Slaves/ Nashville, Tenn.,” as well as two other images by Morse’s Gallery of the Cumberland that show the same young African-American boy looking sad “Before the Proclamation” and then grinning broadly “After the Proclamation.”

The William Tell Claude manuscript contains all of Claude's editorial columns written between December, 1846 and June, 1849, probably for the Maryland Republican.

The William Tell Claude manuscript contains all of Claude's editorial columns written between December, 1846 and June, 1849, probably for the Maryland Republican. As a deeply committed and tireless publicist, Claude launched a series of front door and back door attacks on the Democratic opposition, criticizing the Democratic war in Mexico and smearing the names of Democratic candidates for office.

The origins of the manuscript are unclear, but it appears to have been compiled at a later date, possibly simply to be retained for convenient reference, possibly for separate publication. Only one work of Claude's appears to found its way into print as a separate work, however, his war-time Address to the people of Anne Arundel County (1861).