7 10 101 https://mirrorofrace.bc.edu/files/original/6471c80a4ede695d049abd702315b359.tif 74441cc8306dc86c0117e3b60f5361ab 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 Slaves in Black and White 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. Exhibition Name Name of the exhibition in which the item appears Slaves in Black and White Original Format The type of object, such as painting, sculpture, paper, photo, and additional data carte de visite, albumen print Factual Commentary Factual Commentary Charles Paxson has selected the three “whitest” from among the “Slave Children from New Orleans” —Rosina Downs, Charles Taylor, and Rebecca Huger —to pose them literally wrapped in an enormous American flag. Paxson has titled the image “Our Protection” because the flag symbolizes both the Union army, that had taken New Orleans and given former slaves such as these the opportunity to escape bondage, and because of the foundational principles of liberty represented by the flag that Paxson and other abolitionists sought to make the goal of the war as a fight to end slavery, not just to preserve the Union. By 1863, the war exacting an enormous cost in lives and treasure, and Paxson seeks to reinforce what is worth fighting for in the conflict. 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/. Identifier An unambiguous reference to the resource within a given context Figure 6 Title A name given to the resource Our Protection Subject The topic of the resource Our Protection Creator An entity primarily responsible for making the resource Charles Paxson (New York) Date A point or period of time associated with an event in the lifecycle of the resource 1864 Type The nature or genre of the resource Studio Portrait Rights Holder A person or organization owning or managing rights over the resource. Gregory Fried Collection https://mirrorofrace.bc.edu/files/original/407b6e73c858dd0cd0f6011c096ca572.jpg 2d0eb6550dc387080e890a6000872e4b 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 Slaves in Black and White 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. Exhibition Name Name of the exhibition in which the item appears Slaves in Black and White Original Format The type of object, such as painting, sculpture, paper, photo, and additional data carte de visite, albumen print Factual Commentary Factual Commentary In this portrait, Charles Paxson, the photographer, has posed Rebecca Hubner before a mirror, a common theme in portraiture of the period, especially for women. But Paxson goes beyond the conventional use of the mirror as a symbol of femininity, or even of vanity, to goad the viewer to reflect on the contradictions of slavery: that although this child might appear “white” enough to pass for white, she was nevertheless “A Slave Girl from New Orleans.” Was this merely exploitation of white self-regard to get the audience to identify with people they would not ordinarily because of their racism, or is it a legitimate attempt to shock the viewers into a realization that the racial categories were so fluid as to be meaningless? 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/. Identifier An unambiguous reference to the resource within a given context Figure 5 Title A name given to the resource Rebecca, A Slave Girl from New Orleans Subject The topic of the resource Rebecca, A Slave Girl from New Orleans Creator An entity primarily responsible for making the resource Charles Paxson (New York) Date A point or period of time associated with an event in the lifecycle of the resource 1863 Type The nature or genre of the resource Studio Portrait Rights Holder A person or organization owning or managing rights over the resource. John Daggett Collection https://mirrorofrace.bc.edu/files/original/0afe299757a7369000ab0bc9766d7b83.tif a1c822862ec4428181c8890810e26af4 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 Slaves in Black and White 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. Exhibition Name Name of the exhibition in which the item appears Slaves in Black and White Original Format The type of object, such as painting, sculpture, paper, photo, and additional data carte de visite, albumen print Factual Commentary Factual Commentary This image shows (from left to right) Rosina Downs, Rebecca Huger, Charles Taylor, and Wilson Chinn — all engaged in the work of learning that the series of photographs seeks to support financially through its sales. The photographer has selected the three “whitest” appearing children to sit with Wilson Chinn, who was depicted wearing chains in the previous photograph. After what must have been a very long day of posing for portraits, Rebecca and Rosina look quite exhausted. 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/. Identifier An unambiguous reference to the resource within a given context Figure 4 Title A name given to the resource Learning is Wealth Subject The topic of the resource Learning is Wealth Creator An entity primarily responsible for making the resource Charles Paxson (New York) Date A point or period of time associated with an event in the lifecycle of the resource 1863 Type The nature or genre of the resource Studio Portrait Rights Holder A person or organization owning or managing rights over the resource. Greg French Collection https://mirrorofrace.bc.edu/files/original/71882d0290b1ea384ed80b67188e7fec.tif 6147d41bd1db0c600220a3fd43cb26b6 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 Slaves in Black and White 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. Exhibition Name Name of the exhibition in which the item appears Slaves in Black and White Original Format The type of object, such as painting, sculpture, paper, photo, and additional data carte de visite, albumen print Factual Commentary Factual Commentary This portrait shows Wilson Chinn, branded on his forehead with the initials of his former master, Volsey B. Marmillion, and displaying implements of bondage and punishment for slaves. The device with the three prongs around his neck would prevent a person from lying down, and the rigid leg iron would prevent running to escape. The perforated paddle on the floor was for beatings. Marmillion ran a sugar plantation outside of New Orleans, and 105 of his slaves, including Chinn, escaped to the Union lines. Harper’s Weekly in a story of January 30, 1864, reported that “Thirty of them had been branded like cattle with a hot iron, four of them on the forehead, and the others on the breast or arm.” 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/. Identifier An unambiguous reference to the resource within a given context Figure 3 Title A name given to the resource Wilson Chinn, a branded slave from Louisiana Subject The topic of the resource Wilson Chinn, a branded slave from Louisiana Creator An entity primarily responsible for making the resource Myron H. Kimball (New York) Date A point or period of time associated with an event in the lifecycle of the resource 1863 Type The nature or genre of the resource Studio Portrait Rights Holder A person or organization owning or managing rights over the resource. Greg French Collection https://mirrorofrace.bc.edu/files/original/3aa0cf41fe1e0d3439e83e11bada236e.jpg 6b459e857052d872c4d41f97ae779b9b 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 Slaves in Black and White 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. Exhibition Name Name of the exhibition in which the item appears Slaves in Black and White Original Format The type of object, such as painting, sculpture, paper, photo, and additional data carte de visite, albumen print Factual Commentary Factual Commentary The caption to this image, “White and Black Slaves from New Orleans,” is designed to shock the (mostly white) viewers of such portraits with the realization that skin color was no obvious marker of who counted as a slave —&nbsp;after generations of masters forcing themselves upon enslaved women. This portrait seeks both to arouse moral outrage and prey upon the sympathy of a white audience that would identify with the “white” slave in the image. The back of the image explains that proceeds of the sale of such photographs “will be devoted exclusively to the education of colored people in the Department of the Gulf,” the region of the Confederacy around New Orleans occupied by the Union army. 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/. Identifier An unambiguous reference to the resource within a given context Figure 2 Title A name given to the resource White and Black Slaves Subject The topic of the resource White and Black Slaves Creator An entity primarily responsible for making the resource Myron H. Kimball (New York) Date A point or period of time associated with an event in the lifecycle of the resource 1863 Type The nature or genre of the resource Studio Portrait Rights Holder A person or organization owning or managing rights over the resource. Greg French Collection https://mirrorofrace.bc.edu/files/original/ea67a9f562380470277b0710b0878d4f.tif 9f37b03d39e29da4ca460fa42258db53 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 Slaves in Black and White 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. Exhibition Name Name of the exhibition in which the item appears Slaves in Black and White Original Format The type of object, such as painting, sculpture, paper, photo, and additional data albumen print Factual Commentary Factual Commentary This larger format photograph is the only known portrait of the entire New Orleans group, including three adults (Wilson Chinn, Mary Johnson, and Robert Whitehead) and five children (Charles Taylor, Augusta Broujey, Isaac White, Rebecca Huger, and Rosina Downs). Note that the negative has been retouched to emphasize the initials “VBM” that Chinn’s former owner, Volsey B. Marmillion branded onto his forehead. This image also tells us that Colonel George H. Hanks brought the group north for its tour and that the children come from the free schools established by General Banks for the education of emancipated slaves.Each member of this group is described in a story of January 30, 1864 in <i>Harper’s Weekly. For an analysis and bibliography, see the essay on ”White Slaves” by Celia Caust-Ellenbogen. 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/. Identifier An unambiguous reference to the resource within a given context Figure 1 Title A name given to the resource Emancipated Slaves Subject The topic of the resource Emancipated Slaves Creator An entity primarily responsible for making the resource Myron H. Kimball (New York) Date A point or period of time associated with an event in the lifecycle of the resource 1863 Type The nature or genre of the resource Studio Portrait Rights Holder A person or organization owning or managing rights over the resource. New York Historical Society Collection https://mirrorofrace.bc.edu/files/original/5057a601cc5df349c7a41e245be00e91.jpg 644e447f73a3a0495f5f00ed01e1e804 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 Abolitionists 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. Exhibition Name Name of the exhibition in which the item appears Abolitionists Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Ambortype, sixth plate (2.75 x 3.25 inches) Factual Commentary Factual Commentary The cause of abolitionism had many adherents beyond the famous names. David James Van Meter of Rock Island, Illinois, poses here in a double portrait with his wife Martha; he holds W. O. Blake’s The History of Slavery and the Slave Trade. Published in 1857, Blake’s History is an exhaustive treatment of the subject, from the ancient world to contemporary political debates, that underlines the horrors of the middle passage in the slave trade to the Americas. David Van Meter displays the title on the spine of the book to announce his moral and political principles. 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/. Identifier An unambiguous reference to the resource within a given context Figure 6 Title A name given to the resource David James and Martha Avery Van Meter Subject The topic of the resource David James and Martha Avery Van Meter Date A point or period of time associated with an event in the lifecycle of the resource 1859 Type The nature or genre of the resource Studio Portrait Rights Holder A person or organization owning or managing rights over the resource. Gregory Fried Collection Creator An entity primarily responsible for making the resource photographer Unknown Photographer Photographer https://mirrorofrace.bc.edu/files/original/de1872af56c9097e76d6c4cca58fabc2.tif 5be83f8dbc3dd5703cd31902727ffe7a 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 Abolitionists 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. Exhibition Name Name of the exhibition in which the item appears Abolitionists Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Cabinet card, albumen print Factual Commentary Factual Commentary Charles Sumner (1811-1874), portrayed here late in life, was a long-serving “Radical Republican” senator from Massachusetts: a staunch opponent of slavery before the Civil War, he lobbied President Lincoln to recruit Black soldiers and to make the abolition of slavery the prime and explicit aim of the war after it started. During the period of Reconstruction after the war, Sumner fought to ensure equal political and social rights for African Americans, and he also opposed discriminatory legislation against Asian immigration. 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/. Identifier An unambiguous reference to the resource within a given context Figure 5 Title A name given to the resource Charles Sumner Subject The topic of the resource Charles Sumner Creator An entity primarily responsible for making the resource George Kendall Warren (Boston) Date A point or period of time associated with an event in the lifecycle of the resource 1874 Type The nature or genre of the resource Studio Portrait Rights Holder A person or organization owning or managing rights over the resource. Gregory Fried Collection https://mirrorofrace.bc.edu/files/original/90a2347e4688408645eda29e94d7fcc4.tif 33a59c8b6edc3ba9493c888f2b2068a7 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 Abolitionists 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. Exhibition Name Name of the exhibition in which the item appears Abolitionists Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Carte de visit, albumen print Factual Commentary Factual Commentary Sojourner Truth (1797-1883) was born Isabella Baumfree in Swartekill, New York, when slavery was still legal in that state. She escaped in 1823, and in 1843 she took the name Sojourner Truth to symbolize her pilgrimage through this world as a witness to God’s truth of liberation for all human beings. A campaigner against slavery and for women’s rights, she delivered her famous “Ain’t I a Woman?”speech in 1851 at the Women’s Rights Convention. Along with Frederick Douglass, she helped recruit African American soldiers during the Civil War 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/. Identifier An unambiguous reference to the resource within a given context Figure 4 Title A name given to the resource Sojurner Truth Subject The topic of the resource Sojurner Truth Date A point or period of time associated with an event in the lifecycle of the resource circa 1865 Type The nature or genre of the resource Studio Portrait Rights Holder A person or organization owning or managing rights over the resource. Wikimedia Commons Collection Creator An entity primarily responsible for making the resource photographer Unknown Photographer Photographer https://mirrorofrace.bc.edu/files/original/cead6875b57059600833c2714bb7880b.jpg 81aee6ca5a5a3a689815902c4f296c07 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 Abolitionists 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. Exhibition Name Name of the exhibition in which the item appears Abolitionists Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Carte de visit, albumen print Factual Commentary Factual Commentary In this photograph from around 1880, Frederick Douglass has chosen the skilled Boston portraitist, George Kendall Warren to take his portrait. 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/. Identifier An unambiguous reference to the resource within a given context Figure 3 Title A name given to the resource Frederick Douglass Subject The topic of the resource Frederick Douglass Creator An entity primarily responsible for making the resource George Kendall Warren (Boston) Date A point or period of time associated with an event in the lifecycle of the resource circa 1880 Type The nature or genre of the resource Studio Portrait Rights Holder A person or organization owning or managing rights over the resource. Greg French Collection