2 10 16 https://omeka.millikensbend.com/files/original/deee0dfeae0e4a42528771d5dfbcb13b.jpg c7c05d83570a88dd52b53912594ff5f5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Images Description An account of the resource Images of subjects relevant to the Milliken's Bend story. Images typically will include illustrations, etchings, editorial cartoons, and others. Some items may have a direct connection to Milliken's Bend. Others may provide more broad contextual information. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data stereograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Negro family coming into the Union lines, 1863 Date A point or period of time associated with an event in the lifecycle of the resource 1863-01-01 Description An account of the resource A stereograph taken by photographer D.B. Woodbury showing an African American family pausing around a wagon, captioned as a scene taken on January 1, 1863, the first day that the Emancipation Proclamation went into effect. Artist Alfred Waud would make a sketch from this photograph, which would be reproduced in Harper's Weekly on January 31, 1863. Creator An entity primarily responsible for making the resource Woodbury, D.B. (David B.) Publisher An entity responsible for making the resource available Hartford, Conn. : War Photograph & Exhibition Company, Source A related resource from which the described resource is derived Permalink to image at Library of Congress: <a href="https://lccn.loc.gov/2004682778" target="_blank" rel="noreferrer noopener">https://lccn.loc.gov/2004682778</a> Contributor An entity responsible for making contributions to the resource Library of Congress Control Number: 2004682778. Library of Congress, Prints and Photographs Division, Washington, D.C. Rights Information about rights held in and over the resource No known restrictions on publication according to Library of Congress website. Language A language of the resource English Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context LCWaudphotoContrabands.jpg Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1860-1865 African Americans contrabands emancipation freedom Library of Congress photographs slaves https://omeka.millikensbend.com/files/original/46197e3f03ed6a401d39cb03422b5c92.jpg 3b0edc86dd42980af2d64a81d6fd12a3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Images Description An account of the resource Images of subjects relevant to the Milliken's Bend story. Images typically will include illustrations, etchings, editorial cartoons, and others. Some items may have a direct connection to Milliken's Bend. Others may provide more broad contextual information. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Painting Physical Dimensions The actual physical size of the original image 28 1/4 in. x 20 1/4 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Bit of War History: The Contraband Date A point or period of time associated with an event in the lifecycle of the resource 1865 Description An account of the resource This painting by Thomas Waterman Wood depicts an African American man fresh from the fields of bondage. The man doffs his hat in a customary act of deference, yet his face is full of hope and dignity. He smiles at the viewer and his eyes sparkle. His face is bathed in light. He has come into Union lines and entered the local Provost Marshall's office, where a recruiting poster is partially visible in the background, proclaiming "Volunteers Wanted." The man's clothes are well-worn, and the dirt on his shoes shows he has traveled some distance to get to his destination - or, perhaps, has just left the fields where he labored. His pocket is full to overflowing of what looks like tobacco leaves - and a stub of a still-smoking cigar is at his feet. He still holds a small bindle on a stick, tied in a multicolor fabric. To the right leaning against the chair is a musket, cartridge box, and accessories. The leather on these objects is bright and new, unworn and the metal on the musket gleams. A newspaper sits in the chair. In the background to the left is a large American flag and a military drum. In the left foreground is the corner of a tent. Analysis: The details of this painting can be read in numerous ways. At first, the man's stance and the way he lifts his hat might convey a notion of deference, instilled in him through decades of enslavement. Yet it can just as easily be read as demonstrating the hard labor he has endured, with his slightly stooped posture. His removal of his hat indicates his intent to cast off his identity as a bondsman, and instead of deference, is an act of liberty, defiance, and self-determination. The small bundle that he carries with him shows what few possessions he could have in a life of bondage, but also demonstrates he has deliberately run away, claiming his own freedom. The condition of his clothing, especially his trousers and shoes, show both the hard labor he has been subjected to, as well as the long and perilous journey he must have made to arrive at this moment. The large quantity of tobacco in his pocket harkens back to the first enslaved Africans who arrived in the United States in Jamestown, Virginia in 1619, who worked the tobacco fields. And although it is not clearly defined - might there be 13 leaves of tobacco spilling out of his pocket, representing the original thirteen colonies? The multi-colored fabric that wraps his bindle is a plaid pattern - and is in tones of red, white and blue, though faded. Might the pattern on the fabric also indicate the "stripes" that so many enslaved bore on their bodies from brutal whippings? Slavery was woven through every bit of the American story, north, south, east, and west. The musket and accoutrements beg the question, at this moment, whether this man will become a soldier in the United States Army. Until the final Emancipation Proclamation of January 1, 1863, there was no authorization for the U.S. Army to accept Black men as soldiers - although they could be hired as paid laborers, such as teamsters and cooks. What will be this man's destiny? The American flag and drum in the background, likewise, can be interpreted in several ways. For much of the early days of Civil War, the North chose not to view the war as a war to end slavery. And indeed, even the Emancipation Proclamation did not end slavery in the United States - but rather, in Confederate-held territory. At the time this image was painted in 1865, the Thirteenth Amendment to the Constitution, which ended slavery throughout the United States, was still making its way through the ratification process. Thus, the image of the flag tucked away in a closet behind this man can simultaneously represent both the ways in which the United States denied him his rights and freedom - but also held the promise of a way to secure his freedom, both militarily through his service, and legally, through legislation. In the Milliken's Bend story: "Contrabands" - or self-emancipating slaves - streamed in to Union lines in northeast Louisiana during the spring and summer of 1863. Many of them enlisted in the army, and some fought at Milliken's Bend. This image centers the dignity and humanity of the freedmen, in a time when such qualities were too often mocked or outright denied. It dramatically portrays the hardships these men left behind, and the hopes and expectations they brought for their future. Creator An entity primarily responsible for making the resource Wood, Thomas Waterman Source A related resource from which the described resource is derived Link to The Met website: <a href="https://www.metmuseum.org/art/collection/search/13345" target="_blank" rel="noreferrer noopener">https://www.metmuseum.org/art/collection/search/13345</a> Contributor An entity responsible for making contributions to the resource Object number 84.12a, part of a triptych. Oil on canvas. The Met, Fifth Avenue (Metropolitan Museum of Art), New York, New York. Rights Information about rights held in and over the resource In public domain according to The Met's website. Relation A related resource Part one of a triptych (three-part painting). Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context TWWood-Contraband.jpg Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1860-1865 contrabands Metropolitan Museum of Art paintings slavery Thomas Waterman Wood https://omeka.millikensbend.com/files/original/4610c51b72868424e945f0841caeeab6.jpg 5023af77411f61e4dc283ad8002cee61 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Images Description An account of the resource Images of subjects relevant to the Milliken's Bend story. Images typically will include illustrations, etchings, editorial cartoons, and others. Some items may have a direct connection to Milliken's Bend. Others may provide more broad contextual information. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Painting Physical Dimensions The actual physical size of the original image 28 1/4 in. x 20 1/4 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Bit of War History: The Recruit Date A point or period of time associated with an event in the lifecycle of the resource 1866 Description An account of the resource This painting by Thomas Waterman Wood shows the same African American man from "The Contraband" now wearing the uniform of a Union soldier. He stands tall, with eyes focused straight ahead and walking with a purposeful step. He carries a musket with bayonet on his shoulder and he grips his belt with his left hand. His cartridge box is visible on his hip. He wears a kepi hat at a slight angle, and his clothes appear to be new. His shoes are clean and blacked. He stands in the same Provost Marshall's office as in the previous painting,. The recruiting poster seeking "Volunteers Wanted" is now nearly faded away, its place taken by a small American flag, whose red stripes seem especially prominent. An illustrated newspaper sits in the empty chair next to him, along with a lighted cigar. Behind him through a cracked open door we see a large American flag and a military drum. In the left foreground is the corner of a tent. Analysis: The soldier still wears the same shirt as in "The Contraband," but now is clothed in Union blue, highlighted by the red lining of his coat. Indeed, the man is now literally clothed in red, white, and blue. He stands in front of the American flag to defend it, as it too, stands behind him in support. Perhaps the small flag on the wall indicates that the freedman's commitment and courage is yet untested, and reflects the North's hesitant, even sometimes reluctant, embrace of enlisting Black men in the Union army. Creator An entity primarily responsible for making the resource Wood, Thomas Waterman Source A related resource from which the described resource is derived Link to the Met website: <a href="https://www.metmuseum.org/art/collection/search/13346" target="_blank" rel="noreferrer noopener">https://www.metmuseum.org/art/collection/search/13346</a> Contributor An entity responsible for making contributions to the resource Object number 84.12b, part of a triptych. Oil on canvas. The Met, Fifth Avenue (Metropolitan Museum of Art), New York, New York. Rights Information about rights held in and over the resource In public domain according to The Met's website Relation A related resource Part two of a triptych (three-part painting). Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context TWWood-Recruit.jpg Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1860-1865; 1866-1869 African Americans Metropolitan Museum of Art paintings soldiers Thomas Waterman Wood USCT https://omeka.millikensbend.com/files/original/fe41986600ca3e1066c50d0963ac130b.jpg 6b866bf7697faf697ce593830fe811be Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Images Description An account of the resource Images of subjects relevant to the Milliken's Bend story. Images typically will include illustrations, etchings, editorial cartoons, and others. Some items may have a direct connection to Milliken's Bend. Others may provide more broad contextual information. Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Painting Physical Dimensions The actual physical size of the original image 28 1/4 in. x 20 1/4 in. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Bit of War History: The Veteran Date A point or period of time associated with an event in the lifecycle of the resource 1866 Description An account of the resource This painting by Thomas Waterman Wood shows the same African American man from "The Recruit" still in his uniform, but as an amputee on crutches. He nevertheless raises his right hand in salute. His uniform is faded, and dust covers his hat and boots. He wears a red shirt, and has a kerchief tied about his head, under his cap. The kerchief seems to be made of the same fabric as the bindle he carried with him at his arrival in "The Contraband." The man stands in full light, with the recruiter's office now in heavy shadow behind him. His gaze is still firm, with a quiet determination. He is clearly proud of his military service. His weapons are propped against the chair behind him, and a crumpled knapsack lies on the ground nearby. The scene is the same Provost Marshall's office as in the previous two paintings. The recruiting poster for "Volunteers Wanted" remains on the wall. In heavy shadow behind him is an American flag, seen through an open door. In the left foreground is the corner of a tent. Analysis: The condition of both the man and his uniform reflect the sacrifices he has made and the hardships he has seen. His red shirt stands out prominently as a symbol both of the blood he has sacrificed and his heart of courage. The full light on the man indicates a new day of freedom dawning, and a bright future full of hope and possibility. The Provost Marshal's office remains a significant setting, as it would play a role to secure and maintain African Americans' rights in the post-war years through the Freedmen's Bureau. Creator An entity primarily responsible for making the resource Wood, Thomas Waterman Source A related resource from which the described resource is derived Link to the Met website: <a href="https://www.metmuseum.org/art/collection/search/13344" target="_blank" rel="noreferrer noopener">https://www.metmuseum.org/art/collection/search/13344</a> Contributor An entity responsible for making contributions to the resource Object number 84.12c, part of a triptych. Oil on canvas. The Met, Fifth Avenue (Metropolitan Museum of Art), New York, New York. Rights Information about rights held in and over the resource In public domain according to The Met's website Relation A related resource Part three of a triptych (three-part painting). Type The nature or genre of the resource Image Identifier An unambiguous reference to the resource within a given context TWWood-Veteran.jpg Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1860-1865; 1866-1869 African Americans injuries Metropolitan Museum of Art paintings soldiers Thomas Waterman Wood USCT veterans https://omeka.millikensbend.com/files/original/a2764c2269b41c429e67742c88328393.jpg abf62fefe432dfc92def062f102f3c6b https://omeka.millikensbend.com/files/original/91bd53d70216b3edc8d5ec735bc138d7.pdf cab6bf7c3111c461bd00b8556aed84e7 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Testing PDF Description An account of the resource Long news article https://omeka.millikensbend.com/files/original/b8500cd07f1f4b3cc8da638b18f8b05d.pdf f0cf38218c7c2451cd1a33a71479bcf4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Official Records: War of the Rebellion Description An account of the resource More formally known as: War of the Rebellion: A Compilation of the Official Records of the Union and Confederate Armies but also often known simply as the "Official Records" or "O.R.", this massive multi-volume set was published by the War Department and the U.S. Government Printing Office between 1881 and 1901. It is based upon transcriptions of thousands of documents created during the American Civil War that were housed in the War Department, consisting of orders, reports, correspondence and similar material. Creator An entity primarily responsible for making the resource United States. War Department. Publisher An entity responsible for making the resource available U.S. Government Printing Office Rights Information about rights held in and over the resource The vast majority of the U.S. Congressional Serial Set is a work of the U.S. Government not subject to copyright in the United States and free to use or reuse. Language A language of the resource English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1860-1865 Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Reports from Maj. Gen. Richard Taylor concerning attack on Milliken's Bend, June 1863 Date A point or period of time associated with an event in the lifecycle of the resource June 1863 Publisher An entity responsible for making the resource available U.S. Government Printing Office Source A related resource from which the described resource is derived Official Records, Series I, Vol. 23, pt. 2, pp. 457-462. Permalink to this book at Library of Congress: <a href="https://lccn.loc.gov/2024847780" title="War of the Rebellion...Ser. I, Vol. 23, Part 2" target="_blank" rel="noreferrer noopener">https://lccn.loc.gov/2024847780</a> Language A language of the resource English Identifier An unambiguous reference to the resource within a given context ORSer1Vol24Part2p457-462Taylor Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1863 Description An account of the resource Several reports from Confederate Major General Richard Taylor, concerning the efforts by Walker's Texas Division to attack Federal outposts on the Mississippi River, including Young's Point and Milliken's Bend in June 1863. Also included are correspondence and endorsements from Lt. Gen. Edmund Kirby Smith, Confederate President Jefferson Davis, and Confederate Secretary of War James Seddon.