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Finding Aid: Autumn 2021

Posted by :MI Editor On : September 19, 2021
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Category: Civil War, Military Images

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A complete table of contents for the Autumn 2021 issue of Military Images magazine, and information about how to purchase single issues and subscriptions.

Vol. XXXIX, No. 4
(80 pages)

Print edition: Visit our store to check availability
Digital edition: Visit JSTOR.org to purchase
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Inside

Cover image
A sixth-plate tintype from the Dan Schwab Collection pictures a U.S. Colored Infantryman.

Table of Contents (p. 1)

Editor’s Desk (p. 2)
In “A Word About Mail Delivery,” the editor shares details about the history of the U.S. Post Office’s periodicals rate.

Mail Call (pp. 3-4)
Feedback includes praise for the gallery of buglers, a memorial to Trevor Boeve, a journey to recognize the grave of a Civil War veteran, and notes on fluted Colt Revolvers and Maynard Carbines.

Military Anthropologist (p. 4)
A breakdown of Medals of Honor awarded to Union army soldiers, by rank.

Passing in Review (p. 6)
Two books are reviewed: Colonel Mobley: The 7th Maryland Infantry in the Civil War by Justin T. Mayhew (self-published) and Military Prisons of the Civil War: A Comparative Study by David L. Keller (Westholme Publishing).

Photo Sleuth by Kurt Luther (pp. 8-10)
In “Civil War Photo Sleuth Goes Social,” Luther provides information about several new features that focus on collaboration and community.

Antebellum Warriors (p. 12)
A sixth plate daguerreotype features a soldier dressed in a uniform with hints of militia and regular army from the Mexican War to early 1850s era.

Most Hallowed Ground (p. 14)
Pvt. Oliver Gardner of the 3rd Michigan Infantry survived a wound at the Battle of Gettysburg but succumbed to injuries sustained during the Battle of The Wilderness. He is buried in Arlington National Cemetery.

The Honored Few (p. 16)
Maj. John Curtis Gilmore of the 16th New York Infantry put himself in harm’s way during the Battle of Salem Church when he grabbed the colors and rallied the men. His actions resulted in the Medal of Honor.

The Citizenry by Ross J. Kelbaugh (p. 18)
In “Free at Last,” the origins of a carte de visite of Freedmen on the grounds of a home is traced to Louisiana and the Baton Rouge studio of photographers McPherson and Oliver.

Bandsmen (pp. 21-35)
A gallery of 42 images collected in collaboration with Editor Dale Niesen of the Facebook group “The Image Collector” and contributions by collectors, reviewed by Jeff Stockham, is focused on musicians pictured with cornets and saxhorns.

Miniature Flags and Secession Cockades: Images from the Matthew L. Oswalt M.D. Collection (pp. 36-46)
30 representative images showcase Southern soldiers and civilians. The photographs are introduced with a biographical information of Oswalt and how he became a collector of Civil War images.

Sylvester’s War: The journey of an Indiana volunteer from Tippecanoe County to Tennessee by Ronald S. Coddington (pp. 48-51)
Wagonmaker Sylvester Leaming left his family and joined the 40th Indiana Infantry. His travels as a soldier took him to numerous battlefields, including Missionary Ridge, where a wound proved mortal. This is his story.

A Father and His Sons Fighting Together: The Drown family of the 5th Rhode Island Heavy Artillery by Norman C. Delaney (pp. 52-54)
Joshua Champlin Drown, Sr., and his sons, Joshua, Jr., and Benjamin, served and survived their Civil War military experience. This is their story.

Army Life: An essay in ambrotypes and tintypes by David B. Holcomb (pp. 55-59)
The author captures the essence of the Union soldiers’ Civil War experience in eight photographs.

Green-Wood Cemetery by Jeffrey I. Richman, with images courtesy of The Green-Wood Historic Fund Collections (pp. 61-66)
A final resting place for more than 5,000 Union and Confederate veterans in Brooklyn, N.Y., the cemetery is also distinguished as one of the earliest burial grounds in the rural cemetery movement of the early 19th century. A selection of images of Civil War soldiers interred in the historic cemetery is included here.

Groundbreaking Calendar, a Q&A with Confederate Calendar creator Lawrence T. Jones III (pp. 67-70)
In 1976, Texas photography Larry Jones of Austin, Texas, produced his first calendar with Confederate photographs. Little could he have realized that he’d continue making them for years. In this exclusive interview, Larry discusses the calendars and his lifetime of collecting.

Material Culture by Ron Field (pp. 75)
In “Navy Round Jackets,” Field provides detail about the blue cloth jackets that originate with the first U.S. Navy frigate crews in 1797.

Behind the Backdrop: Origins, artistry, and photographers by Adam Ochs Fleischer (pp. 74-75)
In “The Tiger Tree Backdrop of Kalamazoo, Michigan,” Fleischer examines the distinctive painted canvas with a striped tree and military scene. This presence of this background is a clue that the soldier pictured likely served in a small number of regiments formed in the region during the Civil War.

Stragglers: Distinctive Images from MI contributors (pp. 76-78)
Included are portraits of members of Company E, 44th New York Infantry, two members of U.S. Colored Infantry regiments, Henri B. Loomis of the 56th New York Infantry, Stephen Hannas of the 11th Virginia Infantry and a group of soldiers from the 21st Wisconsin Infantry atop Lookout Mountain, Tenn.

The Last Shot (p. 80)
A sixth plate post-mortem ambrotype pictures a Union officer in death, his body carefully cleaned and dressed.

Finding Aid: Summer 2021

Posted by :MI Editor On : June 18, 2021
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Category: Military Images

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A complete table of contents for the Summer 2021 issue of Military Images magazine, and information about how to purchase single issues and subscriptions.

Vol. XXXIX, No. 3
(80 pages)

Print edition: Visit our store to check availability
Digital edition: Visit JSTOR.org to purchase
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Inside

Cover image
A sixth-plate tintype from the Brian Boeve Collection pictures a musician with his bugle.

Table of Contents (p. 1)

Editor’s Desk (p. 2)
In “Musings on Showcasing,” the editor discusses the first word in the publication’s motto: Showcase. Interpret. Preserve.

Mail Call (pp. 3-4)
Feedback includes praise for RickWolfe’s profile of Everton and Seymour Conger, Jeremy Rowe’s story about “The Little Sack of Flower That Won the West,” Elizabeth Topping’s exploration of color in Civil War era photography, and more.

Military Anthropologist (p. 4)
A survey of newspapers from May through November 1863 reveals how many times the press referenced the Siege of Vicksburg and the Battle of Gettysburg.

Passing in Review (p. 6)
The three-volume Black Lives in Focus series by Ross J. Kelbaugh is reviewed: Part I: Colonial-Antebellum America, Part II: The Civil War & Reconstruction, and Part III: Jim Crow to Barack Obama.

Photo Sleuth by Kurt Luther (pp. 8-10)
In “Hampton’s Battery at Gettysburg and Puerto Rico,” Luther traces the backstory behind a post-war reunion photo taken at Gettysburg by W.H. Tipton. The image is unique due to the presence of Civil War veterans and National Guardsmen—all connected to Pittsburgh, Pa.

Antebellum Warriors (p. 12)
A quarter-plate ambrotype features a militia corporal with an artillery sword. The style of his uniforms asks more questions than it answers.

The Honored Few (p. 14)
Sgt. Maj. Herbert Elon Farnsworth of the 10th New York Cavalry received the Medal of Honor for volunteering to cross dangerous ground to stop a Union artillery battery from firing on its own troops—a case of friendly fire.

Most Hallowed Ground by Perry M. Frohne (p. 16)
Long before Capt. Emmet Crawford of the 3rd U.S. Cavalry was murdered while he chased Apache Chief Geronimo in Mexico, he served in the Civil War with the 71st Pennsylvania Infantry. He is buried in Arlington National Cemetery.

The Citizenry (p. 18)
In “Author of a Southern Anthem,” we meet James Ryder Randall of Baltimore, Md. In April 1861, he penned the poem “Maryland, My Maryland” after learning of the failure of pro-secession rioters to stop the 6th Massachusetts Infantry as it marched through his hometown. The poem was soon set to music and became a popular tune with Confederate soldiers and Southern citizens. It was the Maryland state song from 1939-2021.

Buglers (pp. 21-32)
A gallery of 31 images collected in collaboration with Editor Dale Niesen of the Facebook group “The Image Collector” and contributions by collectors, reviewed by Contributing Editor Chris Nelson, is focused on soldiers pictured with bugles and trumpets. All are Union musicians.

MMB: A concise history of the unconventional, untethered and unruly warriors of the Mississippi Marine Brigade by Paul Russinoff (pp. 34-42)
One of the Civil War’s most novel fighting forces, the Mississippi Marine Brigade, began its life as a fleet of rams, the brainchild of civil engineer Charles Ellet, Jr. After his death from an infected wound, command passed to his brother, Alfred, who built the MMB. This is its story.

The Compact: In 1864, a group of soldiers at an army hospital pondered their futures. They pledged to meet 20 years later to find out. By Ronald S. Coddington (pp. 44-54)
At the U.S.A. General Hospital in York, Pa., a dozen soldiers, including three hospital stewards, planned a reunion at Niagara Falls in 1884 to find out where life took them after the war ended. What happened to them, and the fate of the reunion, is revealed in this account.

“Lost an Arm in Freedom’s Fray” by Charles T. Joyce (pp. 55-62)
About 25,000 Union soldiers suffered amputations during the Civil War. These limbless men re-entered society, some faring well and others not. Here, we examine seven men who lost an arm as a result of the Battle of Gettysburg. Among them is artilleryman John F. Chase, who barely escaped when a canister charge exploded prematurely. Surgeons counted 48 shrapnel wounds on his body.

On the Art, Science and technology Behind the Modern Coloring of Images, a Q&A with Matt Loughrey of My Colorful Past (pp. 63-65)
“Coloring imagery is as old as photography itself,” notes Matt Loughrey, owner of My Colorful Past, a company that colorizes and adds motion to historic images. In this interview, he describes his process and how his work is rooted in research and history.

Marcus Aurelius Root Wrote a Photographer’s Handbook in 1864. It Includes 6 Tips That Can Help You Better Appreciate 19th Century Portraits. By Ronald S. Coddington (pp. 66-67)
Pioneer daguerreotypist Marcus A. Root believed photography was an art form, not purely a mechanical process. His handbook, The Camera, and the Pencil, makes the point in several ways, including these tips.

Participants in an Early Commemoration at Gettysburg’s National Cemetery? By Elizabeth A. Topping (pp. 68-70)
A carte de visite of a Union officer wearing a sash and two ladies dressed in Goddess of Liberty costumes taken by Gettysburg, Pa., photographer Levi H. Mumper is a clue to a little remembered event that took place on July 4, 1865.

The USCC at Camp Letterman by Elizabeth A. Topping (pp. 72-74)
A group of soldiers, men and women gathered at the United States Christian Commission station in Gettysburg, Pa., reveals details not previously explored. The station operated from July to November 1863.

Material Culture by Frank Graves (pp. 75)
In “Colt Model 1860 Army Revolver, early Fluted Cylinder,” Graves shares a tintype of a soldier holding the revolver, and provides details about its fluted cylinder, comparing it to the more popular rebated cylinder.

Behind the Backdrop: Origins, artistry and photographers by Adam Ochs Fleischer (pp. 76-77)
In “A Backdrop Connected to Portraits of Quantrill’s Men,” Fleischer examines the distinctive painted canvas with a vessel and ruins visible in two photographs by Thomas D. Saunders of Lexington, Mo. This background matches other images of men who served with William Quantrill’s raiders.

Stragglers: Distinctive Images from MI contributors (pp. 78-79)
Included are portraits of Brig. Gen. Alfred Jefferson Vaughan, Jr., who started the war as a captain in the 13th Tennessee Infantry and went on to suffer the loss of a leg during the Atlanta Campaign, and William G. Edwards of the 14th Mississippi Infantry, who suffered the amputation of an arm after at Spring Hill, Tenn., an action leading up to the Battle of Franklin.

The Last Shot (p. 80)
A quarter-plate ruby ambrotype pictures Pvt. James Lawrence Secrest of Mississippi’s Jeff Davis Legion of Cavalry. Secrest is seated on his horse, Sela.

Finding Aid: Spring 2020

Posted by :MI Editor On : March 14, 2020
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Category: Archives, Civil War, Military Images

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The complete issue

Vol. XXXVIII, No. 2
(80 pages)

Print edition: Visit our store to check availability
Digital edition: Visit JSTOR.org to purchase
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Inside

Cover image
A half-plate ambrotype from the David W. Vaughan Collection pictures William Houston House of the 13th Georgia Cavalry.

Table of Contents (p. 1)

Editor’s Desk (p. 2)
The editor introduces two new departments, Behind the Backdrop by Adam Ochs Fleischer and Material Culture, which is guest hosted. The editor also notes a modification in policy regarding colorized images, which will be allowed for educational purposes. Such images reproduced in the magazine will be accompanied by the un-colorized image.

Mail Call (pp. 3-4)
Feedback includes comments on Fakes, Forgeries and Frauds,and a note regarding a misidentified epaulette.

Military Anthropologist (p. 4)
A tree map diagram visualizes enlistments in the Union and Confederate armies.

Passing in Review (pp. 6-8)
Featured media includes The 16th Michigan Infantry in the Civil War (Michigan State University Press) by Kim Crawford, 100 Significant Civil War Photographs: Atlanta Campaign (Historical Publications LLC), and the movie short Hold My Horse (Look Around You Ventures, LLC) starring Christian Stolte and Patrick Webb.

Photo Sleuth by Kurt Luther (pp. 8-13)
In “Lost and Found in the Library of Congress,” Luther details his journey that began with a questionable caption on a single glass plate negative and ended with an extensive examination of captions attached to 16 negatives—11 of which he found proved incorrect or unclear.

Antebellum Warriors (p. 14)
A sixth-plate ambrotype discovered in Florence, S.C., pictures a militiaman. He may have been a member of the Darlington Rifles, a local militia company.

The Honored Few (p. 16)
Willie Johnston, an 11-year-old drummer in the 3rd Vermont Infantry, managed to hold on to his instrument during the desperate march from the Malvern Hill battlefield to Harrison’s Landing. On July 4, 1862, after Maj. Gen. George B. McClellan ordered a review to boost morale, only Johnston had a drum to play. Other musicians had either discarded their drums during the march or put them in temporary storage aboard baggage wagons. Word of Willie’s lone performance made its way to Washington, D.C., and resulted in his receipt of the nation’s highest military honor.

Most Hallowed Ground (p. 18)
Navy Rear Adm. Richard Worsam Meade was an irascible man, a trait he shared in common with his famous uncle, Maj. Gen. George Gordon Meade. Rear Adm. Meade’s temper got the best of him late in his career when he insulted President and Commander-in-Chief Grover Cleveland. The incident ended with Meade’s dismissal from the Navy. He is buried at Arlington National Cemetery.

The Citizenry by Alison Renner (p. 20)
Four-year-old Major Willie Bagley, “The Wisconsin Infant Drummer,” enjoyed a brief stint in the spotlight as a performer for P.T. Barnum. The legendary Barnum posted with Bagley to mark the association.

Fakes, Forgeries and Frauds by Perry M. Frohne (pp. 22-23)
In “The Weaponization of Technology and Psychology,” Frohne details how today’s forgers  “are far smarter, have far better technology, and are very close to producing perfect fake cartes de visite.” He illustrates the column with two cartes that fooled him.

Georgians in Gray: Images from the David W. Vaughan Collection, with text by August Marchetti (pp. 24-35)
More than 15 years ago, a gallery of David W. Vaughan’s portraits of Georgia Confederates debuted in this magazine. Since then, the collection has been recognized across the country, including the landmark 2013 exhibit Photography and the American Civil War at the Metropolitan Museum of Art in New York City. Vaughan has continued to add to his collection. This gallery highlights recent acquisitions.

Commemorating Uncle Billy’s 200th Birthday in Portraits, with images from the Jerry Everts Collection (pp. 36-45)
William Tecumseh Sherman is front center in 25 portraits that document his rise from major general in 1863 to General of the Army to his retirement.

Chivalrous Legacy: The story behind Tunis A.M. Craven’s last recorded words at Mobile Bay by Ronald S. Coddington (pp. 46-48)
The Battle of Mobile Bay is known for two distinct human moments connected to torpedoes: Rear Adm. David Farragut’s utterance paraphrased as “Damn the torpedoes, full speed ahead,” and Cmdr. Tunis Augustus Macdonough Craven’s words as his ironclad Tecumseh sank, “After you, sir.” This story puts Craven’s words in context, and is illustrated with four portraits of him.

Antebellum Midshipmen: A survey of Navy portraits with images from the Dr. William Schultz Collection (pp. 50-54)
Fourth in a series of galleries of pre-Civil War daguerreotypes from the Schultz collection, this survey examines nine portraits. They include an early view of a midshipman by pioneer photographer John Plumbe, John “Jack” Wilkes, Jr., the son of career naval officer Charles Wilkes, and John Gardner Mitchell, for whom Mitchell Bay in Alaska is named.

A Merchant Prince Goes to War: Baltimore’s Lt. Noah Dixon Walker, C.S.A. by Ronald S. Coddington with Ross J. Kelbaugh (pp. 56-60)
Noah Dixon Walker received an offer of $200,000 ($6 million in today’s dollars) not to enlist in the Confederate army. The man who made the offer was his father, wealthy Baltimore merchant Noah Walker. His son passed on the offer to become an officer in the 44th Virginia Infantry. This is his story.

Accidental American, Soldier, Artist, Photographer: The notable journey of Civil War veteran William Kurtz by Scott Valentine (pp. 62-65)
After fate dashed his dream to start a new life in China, Germany’s William Kurtz found himself stranded on the shores of the U.S. with little money and prospects. He managed to find a job in a New York City photographer’s studio, and it launched him on a prosperous high-profile career.

Inside “The Empty Sleeve” by James S. Brust (pp. 66-67)
Maj. Gen. Oliver O. Howard is perhaps best remembered for his post-Civil War roles with the Freedman’s Bureau and the establishment of Howard University in Washington, D.C. Far less known is a speech he gave in Maine soon after the amputation of his arm after it was severely damaged during the 1862 Battle of Fair Oaks, Va. Howard’s words inspired poet David Barker’s “The Empty Sleeve,” which holds a unique place in American popular culture.

Seamless Sharpshooters: How a revolutionary breakthrough in garment design proved undesirable in war by Brian T. White (pp. 68-70)
Seamless overcoats proved the rage in the late 1850s, thanks to innovative efforts to manipulate wool into form-fitting clothing. Among those who took advantage of the latest technology was Col. Hiram Berdan, the engineer, inventor and crack marksman who raised two regiments of sharpshooters for the Union army. His men received seamless overcoats as part of their standard issue uniform.

Behind the Backdrop: Origins, artistry and photographers by Adam Ochs Fleischer (pp. 72-75)
In his inaugural column, “A Daguerreian Pioneer at the Rendezvous of Distribution,” Fleischer examines the distinctive painted canvas depicting a scene that includes Sibley tents and a palm tree. His investigations highlight the man behind the backdrop, John Jones, and the gallery he operated.

Material Culture by Frederick C. Gaede (pp. 76-77)
In this inaugural column, guest author Gaede investigates leather neck stocks from 1851-1865. Though they are long gone from the military, they live on in the Marine moniker “Leatherneck.”

Stragglers: Distinctive Images from MI contributors (p. 79)
Included are three portraits of Union soldiers, including a Zouave who served in the 9th New York Infantry from the Anthony F. Gero Collection.

The Last Shot (p. 80)
A sixth-plate tintype from the Paul Russinoff Collection pictures a man reading a newspaper. He is dressed in shirtsleeves and what appears to be a military vest.

Finding Aid: Spring 2019

Posted by :MI Editor On : March 14, 2019
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Category: Archives, Civil War

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The complete issue

Vol. XXXVII, No. 2
(80 pages)

Print edition: Visit our store to check availability
Digital edition: Visit JSTOR.org to purchase
Subscribe to MI ($24.95)
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Inside

Cover image
A ninth-plate ruby ambrotype from the Kevin Canberg Collection pictures a federal enlisted man holding a photograph of another soldier.
Download (free)

Table of Contents (p. 1)
Download (free)

Editor’s Desk (p. 2)
The editor discusses two new ventures, Military Images Live, a bi-monthly video broadcast on Facebook, and the first-ever Civil War Faces Show and Sale, a joint venture with Doug York, Editor of Civil War Faces.
Download (free)

Mail Call (pp. 3-4)
Feedback includes memorial for late collector John Sickles, an alternative view of an Antebellum Warrior and the discovery of a wooden bowl in the Iowa Historical Museum.
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Military Anthropologist (p. 4)
An analysis of 5 less discussed factors that negatively impacted prisoners of war, based on scholarship by David Keller, author of The Story of Camp Douglas, Chicago’s Forgotten Civil War Prison.
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Passing in Review (p. 6)
Death, Disease and Life at War: The Civil War Letters of Surgeon James D. Benton, 111th and 98th New York Infantry Regiments, 1862-1865 (Savas Beatie) by Christopher E. Loperfido notes the refreshing honesty revealed by the Union officer in his wartime letters.
Download (free)

Photo Sleuth by Kurt Luther (pp. 8-9)
In “Civil War Photo Sleuth: An Update,” Kurt shares statistics about user-created accounts, adding photos, identifying photos, plus information about the current status and future plans for the popular application.

Antebellum Warriors (p. 10)
A sixth-plate ambrotype from the Thomas Harris Collection is a portrait of a naval 1st assistant engineer dressed in an 1852 regulation uniform.

The Honored Few (p. 12)
Aaron Steven Lanfare, a first lieutenant in the 1st Connecticut Cavalry, captured the flag of the 11th Florida Infantry during the Battle of Sailor’s Creek in April 1865. He received the Medal of Honor for his actions.

Most Hallowed Ground (p. 14)
Georgiana Willets took a break from her duties as a teacher of freedmen in Washington, D.C., to help soldiers suffering wounds and sickness during the 1864 Overland Campaign. She survived the war and married a veteran, James M. Stradling of the 1st New Jersey Cavalry. They are buried side-by-side in Arlington National Cemetery.

The Citizenry by Jeff Giambrone (p. 16)
After the fall of Vicksburg on July 4, 1863, the Union army assumed the difficult role of occupier. An uneasy peace followed, and in one of the many episodes of friction between soldiers and townspeople, Miss Emma Kline was arrested on suspicion of smuggling. She’s pictured here standing between two guards from the 5th Iowa Infantry.

A Million Hells of Screaming Flame: Portraits of Blue and Gray at Shiloh (pp. 18-28)
We remember one of the most significant battles of the war and the Western Theater through representative portraits and stories of more than two dozen soldiers who were killed, wounded and captured, and others, during the chaos and confusion that reigned in and about Pittsburgh Landing during two days in April 1862. Stan Hutson of the National Park Service played an important role in bringing this stories to light.

Infernal Gates: Lt. Borger and the Hornet’s Nest Brigade at Shiloh by Ronald S. Coddington (pp. 30-33)
The fighting at the Hornet’s Nest is remembered for the grit of Union troops who defended this sector of the battlefield against Confederate attackers. A brigade of Iowa infantry played a critical role in its defense. One of the regiments, the 12th Iowa, found itself in the center of the fury. The story of one of these Iowans, 2nd Lt. John Herman Borger, a German immigrant and former Marine, is representative of the Union soldier experience.

Reunion and Reconciliation at the Point: Lookout Mountain and the Linn brothers after the war by Dr. Anthony Hodges (pp. 35-41)
In our third and final installment tracing the history of Lookout Mountain and Chattanooga, Tenn., before, during and after the Civil War, Dr. Anthony Hodges explores the area and its development as a hotspot for Union and Confederate veteran reunions, the center of the battlefield preservation movement, and a tourist attraction documented in photographs by Robert M. and James B. Linn.

Requiescat in Pace: Memorial photographs of the Civil War by Richard Leisenring, Jr. (pp. 42-50)
A newspaper ad for Mathew Brady’s New York City gallery warned readers, “Never delay the important business of getting your Portrait; you cannot tell how soon it may be too late.” The author suggests these words can be loosely attributed to the creation of the memorial photograph, which is rooted in the European custom of memorial cards. A history of these images includes examples of three types: Formal Cards, Informal Cards and Mourning Wreaths. Also included is a section about unverified cards.

Soldier Photographs, Reunited by Daniel J. Binder (pp. 52-54)
Tintypes and ambrotypes were extremely popular during the Civil War. But they did have one drawback—they could not be easily and inexpensively reproduced. Soldiers fond of the format sat for more than one portrait during a sitting. Many of these pairs of images were separated over time. The author brings three of these pairs together, and shares his insights.

Undivided by Robert Lee Blankenship, Jr. (p. 55)
A poem.

Hidden in Plain Sight: Is Jane Perkins pictured in this iconic Civil War image of Confederate prisoners of war? by Shelby Harriel and Mark Hidlebaugh (pp. 56-58)
An iconic Mathew Brady photograph of Confederate prisoners of war at White House Landing in Virginia is a study in contrasts. One of them is the presence of what appears to be a woman who may be a known female soldier, Jane A. Perkins. The authors make a compelling case that the individual is Perkins by placing the scene in context to events in 1864 and her documented military service, as well as a comparison of the individual pictured to known descriptions.

A New Look at Old Abe’s Color Guard: Researchers combine classic and cutting-edge techniques to reexamine the identities of soldiers in an iconic image by Tyler Phillips, Kenneth E. Byrd and Xukai Zou (pp. 60-64)
Three researchers at Indiana University-Purdue University Indianapolis use classic and cutting edge techniques to reexamine the identities of soldiers pictured in a well-known photo of members of the 8th Wisconsin Infantry with their live eagle mascot, Old Abe. The results of the study confirm the identities of some of the eight men—and raise questions about the others.

Red-Whiskered Artillery Genius: New York’s Capt. Jacob Roemer by Mike Fitzpatrick (pp. 65-69)
Jacob Roemer’s military exploits are largely forgotten. In his four years as captain of the 2nd New York Light Artillery, the German immigrant survived numerous wounds and established a reputation as something of a tactical genius. His knack for improvisation, quick thinking and bold action in the face of adversity belied his lack of a formal military education.

Legacy Fulfilled: One Virginian’s Journey from West Point to Confederate artillery leader by Fred D. Taylor (pp. 70-73)
Virginia’s William Rice Jones left his beloved West Point as a matter of honor and principle after his home state seceded and cast his lot with the Confederate army. The young man eventually rose to become an artillery chief in Texas, and returned to the Lone Star State to make a new life for himself after the end of hostilities.

Stragglers: Distinctive Images from MI contributors (pp. 74-79)
Union and Confederate images include a young men with a fawn outside a photographer’s studio tent, Nathan Bedford Forrest’s cousin, Capt. Albartus Forrest of the 31st Tennessee Infantry, and a post mortem of Pvt. Alonzo “Lon” Clark of the 31st Maine Infantry, who died of disease only six weeks after he enlisted.

The Last Shot (p. 80)
A quarter-plate tintype from the Ronald S. Coddington Collection is a portrait of Union officer thumbing his nose at the camera.