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Ross A. Brooks - The Visible Confederacy: Images and Objects in the Civil War South

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Ross A. Brooks The Visible Confederacy: Images and Objects in the Civil War South
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Featuring 92 images and line drawings
The Visible Confederacy is a comprehensive analysis of the commercially and government-generated visual and material culture of the Confederate States of America. While historians have mainly studied Confederate identity through printed texts, this book shows that Confederates also built and shared a sense of who they were through other media: theatrical performances, military clothing, manufactured goods, and an assortment of other material. Examining previously understudied and often unpublished visual and documentary sources, Ross A. Brooks provides new perspectives on Confederates sense of identity and ideas about race, gender, and independence, as well as how those conceptions united and divided them.
Brookss work complements the historiography surrounding the Confederate nation by revealing how imagery and objects offer new windows on southern society and a richer understanding of Confederate citizens. Brooks builds substantially upon previous studies of the iconology and iconography of Confederate imagery and material culture by adding a broader range of government and commercially generated images and objects. He examines not only popular or high art and government-produced imagery, but also lowbrow art, transitory theatrical productions, and ephemeral artifacts generated by southerners. Collectively, these materials provide a variety of lenses through which to explore and assay the various priorities, ideological fault lines, and worldviews of Confederate citizens.
Brookss study is one of the first extensive academic works to use imagery and objects as the basis for studying the Confederate South. His work provides fresh avenues for examining Confederate ideas about race, slavery, gender, independence, and the war, and it offers insight into the intentions and factors that contributed to the creation of Confederate nationalism. The Visible Confederacy furthers our understanding of what the Confederacy was, what Confederates fought for, and why their vision has persisted in memory and imagination for so long beyond the Confederacys existence. Visual and material culture captured not only the tensions, but also the illusions and delusions that Confederates shared.

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Ross A. Brooks - The Visible Confederacy: Images and Objects in the Civil War South
The Visible Confederacy: Images and Objects in the Civil War South
Ross A. Brooks
The Visible Confederacy: Images and Objects in the Civil War South

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THE VISIBLE CONFEDERACY
Copyright 2019 by Ross A Brooks All rights reserved Manufactured in the - photo 1
Copyright 2019 by Ross A. Brooks
All rights reserved
Manufactured in the United States of America
First printing
designer : Mandy McDonald Scallan
typeface : Whitman
printer and binder: Sheridan Books, Inc.
Library of Congress Cataloging-in-Publication Data
Names: Brooks, Ross A. (Ross Andrew), 1958 author.
Title: The visible Confederacy : images and objects in the Civil War South /
Ross A. Brooks.
Description: Baton Rouge : Louisiana State University Press, [2019] |
Includes bibliographical references and index.
Identifiers: LCCN 2019018885 | ISBN 978-0-8071-7196-7 (cloth : alk. paper)
Subjects: LCSH: Material cultureConfederate States of AmericaHistory. |
United StatesHistoryCivil War, 18611865Antiquities. | United
StatesHistoryCivil War, 18611865Art and the war.
Classification: LCC E646.5 .B76 2019 | DDC 973.7dc23
The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. Picture 2
To my parents, Valma and Richard
CONTENTS
CHAPTER 1
Iconography of the Confederate Government
CHAPTER 2
Nativism and Depictions of Race
CHAPTER 3
The Southern Defense of Slavery
CHAPTER 4
Manufacturing and Southern Autonomy
CHAPTER 5
The Photographic and Graphic Print Industries
CHAPTER 6
The Meanings of Confederate Military Clothing
CHAPTER 7
Visualizing the War for the People
CHAPTER 8
Representations of Womanhood
CHAPTER 9
Picturing Hierarchies of Manhood
APPENDIX:
The Origins of Vignettes Used on Confederate Currency
ACKNOWLEDGMENTS
This book exists because of the ongoing support and input of many wonderful and generous people, some for many years and others for shorter periods. The most fundamental to its genesis and development is the late Warren Ellem of La Trobe University. Warren saw more than interesting snippets in my research and more than a tourist in my interest in history. His questions and knowledge of American history are deeply embedded in this work. I am so grateful for his continuous encouragement and am glad that he knew of Louisiana State University Presss interest in this work before his passing. Thanks also to Timothy Minchin, who supervised my postgraduate candidature and who has supported this project all along.
I am very grateful for the assistance I received in the latter stages of the manuscripts publication from a range of people. The list starts with two great historians: Giselle Roberts, who throughout the process contributed sage advice concerning my readings of women and the Confederacys visual and material culture; and Keith Wilson, who unstintingly expended time and exercised his scholarship in reviewing the entire manuscript. I also acknowledge Sean Young, Dale Blair, Barry Crompton of the Archer Library, and Michael Adcock, who at stages of this books writing have all shared their knowledge and wisdom. I thank Rand Dotson and Catherine Kadair for their patient support of this project. Especial thanks to Elizabeth Gratch, who so sensitively and thoroughly copyedited the manuscript.
From its inception to now, the world of the researcher has benefited from incredible change. To access the earliest primary sources used in this work required a combination of correspondence, guesswork, and visits to collections. I am grateful to all the curators, from those like the late Norm Simmons of the Pensacola Historical Society, Robert Hancock of the American Civil War Museum, and Caldwell Delaney of the Mobiles Museum of History, who helped me when this project was little more than curiosity, to those like Sarah Tignor of the Johnson Collection and Michelle McDonald of the East Tennessee Historical Museum, whose assistance in the later stages has materially improved this work. Additionally, as I began my postgraduate studies at La Trobe University, Jonelle Bradley and the Borchardt Librarys interlibrary loans department searched out and delivered hard-to-find sources. More recently, thanks to the generosity and foresight of many institutions, many of these and more are now available through the internet. For sources not freely available at that time, the web has led me to collectors, like Confederate currency specialists Pierre Fricke and Richie Self and Confederate firearms collector E. Larry Jackson, who have kindly shared images of pieces in their collections to use in this work.
Finally, I would like to acknowledge the debt that I owe to my family. To my parents Val and Dick, for sparking an interest in history and a passion for language. To my children, Riley, William, and Mahalia, who grew up sharing their lives and our household with Dads book. They started merely as onlookers and have grown into participants in my writing. And at the heart of all this Greta. More than a steadfast source of support and encouragement, she has provided everything possible to enable me to find and shape my own voice.
THE VISIBLE CONFEDERACY
Introduction
E arly in spring 1865, Richmonds besieged citizens viewed two new paintings by artist John Adams Elder in the window of Bidgoods bookstore. The first, The Scouts Prize, depicted a winter scene with a galloping Southern cavalryman leading the mount of a Federal officer he had just killed. The second, larger work, The Battle of the Crater, Morning after the Explosion, showed the moment eight months earlier when Confederate troops repelled a major Union incursion into their defenses at nearby Petersburg. Amid a broken landscape, strewn with bodies and the detritus of war, it showed Confederates coming to the aid of a lone comrade battling black and white Northerners. Both impacted viewers. Richmonds Whig praised each works high artistic merit, and the Enquirer called The Battle of the Crater a faultless representation. But in that instant, Elder represented ideas that resonated with Confederates in their struggle for independence.
Although the nation Elder had depicted collapsed within weeks, it remains a presence in human minds. Posterity considers this American proto-nation in various ways, from revulsion to reverence. For me, it is intriguing that my worlds most powerful democracy fractured within a lifetime and engaged in such a protracted and destructive war. It raises questions regarding not only national identity and government systems but also what prompted and sustained the Southern attempt at independence. This long interest led me to examine the Confederacy through its visual objects, to investigate the state and individuals who generated this visual matter and to understand the messages it conveyed. This work results from that study. Examining these images and objects provides a window on Confederate minds and an opportunity to reconstitute glimpses of the ways they saw their world.
T he images and objects created by the Confederacy offer insights into the quest for identity that accompanied its citizens bid for independence. Romantic nationalists, they sought to set up a reactionary, exclusivist state for a people convinced that the federal government no longer represented them.
This works focus is on the visual realm of Confederate images and objects. Before the 1990s, few historians used the insights granted by these artifacts to study their attempt at building national commonality. Such writing creates the impression that the Confederacy left little visual and material culture and, therefore, that an in-depth study faces a dearth of matter with which to work.
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