1
10
59
-
https://mallhistory.org/files/original/c0cb30ce863c9e1f0fe66d9292669e88.jpg
46c76ae8ca86bfda99219ef3475aef42
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
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
Rejected design for the Statue of Freedom
Creator
An entity primarily responsible for making the resource
Thomas Crawford
Source
A related resource from which the described resource is derived
Architect of the Capitol. <a href="https://www.flickr.com/photos/uscapitol/8393038282/">View original</a>.
Date
A point or period of time associated with an event in the lifecycle of the resource
1855
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1830-1859
Description
An account of the resource
This design of the <a href="http://mallhistory.org/items/show/534">Statue of Freedom</a> was rejected for its reference to slavery. It was one of three designs developed by sculptor Thomas Crawford for the top of the Capitol dome. In 1856, he proposed a statue with a “Liberty Cap.” This style of cap was seen on images of "Liberty" during the American Revolution and was inspired by caps given to slaves in Ancient Rome at their emancipation. Jefferson Davis, Secretary of War at the time, strongly opposed the proposal. Davis, a slaveowner and later named President of the Confederate States of America, rejected any design that seemed critical of slavery.
Type
The nature or genre of the resource
Unbuilt
design & monuments
-
https://mallhistory.org/files/original/90858e19baf8f9ee7d31188ce6a1a2f1.jpg
945822a8b397ad25146d051b7f1a60ad
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
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
Smithsonian grounds neglected
Source
A related resource from which the described resource is derived
Smithsonian Institution Archives. <a href="http://siris-sihistory.si.edu/ipac20/ipac.jsp?&profile=all&source=~!sichronology&uri=full=3100001~!38~!0#focus">View original.</a>
Date
A point or period of time associated with an event in the lifecycle of the resource
August 18, 1856
Description
An account of the resource
In his annual report for the year 1856, Secretary of the Smithsonian <a href="http://mallhistory.org/items/show/349">Joseph Henry</a> complained that Congress had not provided money in the Smithsonian's budget to maintain the <a href="http://mallhistory.org/items/show/52">Institution</a>'s grounds. As a result, he said that the area around the building looked neglected. This photograph accompanying the report showed the state of the grounds. Although the grass and plants were not overgrown, the area lacked a landscape design appropriate for a national institution. By 1858, a small amount finally was allocated to care for the Smithsonian grounds, even if it was not enough to implement a new design.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1830-1859
design & monuments
museums
-
https://mallhistory.org/files/original/e01cd27b6582c0de7606a2e1fa7f4713.JPG
1cd4820aee41e428dfb46356f8b5cde2
Place
Important spaces on the mall (See the "Places" writeboard in basecamp.)
Type
The nature or genre of the resource
Statues and Sculpture
Ghost Sites
Physical Description
Text describing the appearance of the place and its situation on the Mall.
The statue shows Columbus with a globe in his raised right hand. Just to his right is a cowering American Indian woman. The statue stood to one side of the staircase to the eastern entrance to the Capitol, on the left side as one faced the building.
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
Discovery of America
Creator
An entity primarily responsible for making the resource
Luigi Persico
Date
A point or period of time associated with an event in the lifecycle of the resource
1844 (installed)
1958 (removed)
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1830-1859
1950-1979
Source
A related resource from which the described resource is derived
Wikimedia Commons. <a href="https://commons.wikimedia.org/wiki/File:Discovery-statue.JPG">View original</a>.
Description
An account of the resource
In 1837, the President and Congress commissioned Italian-born artist Luigi Persico to create a sculpture depicting Christopher Columbus to be one of a pair of artworks flanking the staircase on the eastern entrance to the <a href="http://mallhistory.org/items/show/59">Capitol</a>. When it was installed in 1844, some politicians and art critics applauded it as a representation of Manifest Destiny. In 1958, <em>Discovery of America</em> and its companion piece <a href="http://mallhistory.org/items/show/18"><em>The Rescue</em></a> were removed in preparation for renovations to the east facade of the Capitol. By that point, both American Indian advocacy groups and members of Congress were highly critical of the sculpture. It was not reinstalled when the renovation was completed.
design & monuments
ghost mall
-
https://mallhistory.org/files/original/83ac4d0ecd590493b93e4f4b09ae78bb.jpg
a248b8c7fd78a5878524c6634a0c7120
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
engraving on wove paper
Physical Dimensions
The actual physical size of the original image.
10 x 17 cm. (engraving plate)
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
United States Slave Trade
Source
A related resource from which the described resource is derived
Library of Congress, Prints and Photographs Division. <a href="http://www.loc.gov/pictures/item/2008661746/">View original</a>.
Date
A point or period of time associated with an event in the lifecycle of the resource
1830
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1830-1859
Description
An account of the resource
While not an exact image of the Mall, this abolitionist print shows the <a href="http://mallhistory.org/items/show/267">role of the federal city in the interstate slave trade</a> in the early 1800s. Slaves worked, lived, were <a href="http://mallhistory.org/items/show/46">held captive, and sold</a> within sight of the <a href="http://mallhistory.org/items/show/59">Capitol building</a>. In this print, the dome of the Capitol is visible above the head of a woman who, with her children, is being forced onto a slave ship, possibly sold to the deep south where working conditions were often very harsh, even deadly.
politics & protest
-
https://mallhistory.org/files/original/1648b17baa9b1ac03ac18b8acbb10249.jpg
d5cbb786f3cd988962df5ce80c0c8bea
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
Painted with aquatint color.
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
City of Washington from beyond the Navy Yard
Creator
An entity primarily responsible for making the resource
G. Cooke (painter)
W.J. Bennett (engraver)
Source
A related resource from which the described resource is derived
Library of Congress, <a href="http://www.loc.gov/pictures/item/92520609/">View Original.</a>
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1830-1859
Description
An account of the resource
This painting from 1833 was published in New York City in 1834. It shows a view of Washington, DC from Anacostia. The Navy Yard and the <a href="http://mallhistory.org/items/show/59">Capitol</a> can be seen in the center, while the Arsenal and the <a href="http://mallhistory.org/items/show/66">White House</a> can be seen toward the left. The ships and ox carts help to show a city on the move, with a growing economy. The large amounts of open space and the rural nature of Anacostia show how 30 years after the federal government relocated to Washington the area was growing slowly into a city.
commerce & trade
-
https://mallhistory.org/files/original/a1f64a9b85e36515a30731f31d4e4327.jpg
8e36c290c618e7508eb8a5412f6d888e
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
lithograph
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
Brown's Indian Queen Hotel
Creator
An entity primarily responsible for making the resource
Endicott & Swett
Date
A point or period of time associated with an event in the lifecycle of the resource
1832
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1830-1859
Description
An account of the resource
There was a hotel on this part of Pennsylvania Avenue starting in 1805. In 1820 the business was bought by Jesse Brown in 1820 and the place was renamed Brown's Indian Queen Hotel. The hotel was popular with out of town visitors and congressmen alike. This lithograph from the 1830s describes it as "midway between the Capitol and the President's House." In 1856 the hotel was renamed the Metropolitan, and remained open under this name until 1932.
Source
A related resource from which the described resource is derived
Library of Congress Prints and Photographs Division. <a href="http://www.loc.gov/pictures/item/93506552/">View original</a>.
commerce & trade
neighborhood
work & play
-
https://mallhistory.org/files/original/586dff180dd2e01d87bbdfae8629f36d.jpg
708fda69441c87712e74905722799d34
Place
Important spaces on the mall (See the "Places" writeboard in basecamp.)
Physical Description
Text describing the appearance of the place and its situation on the Mall.
Bronze statue, 96 inches by 144 inches.
Type
The nature or genre of the resource
Memorials
Location
The location of the interview.
Lafayette Square Park
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
Andrew Jackson Memorial
Description
An account of the resource
At the center of Lafayette Park, along the <a href="http://mallhistory.org/items/show/66">White House</a>’s north side, stands this equestrian statue of President Andrew Jackson. Cast to commemorate Jackson’s victory at the Battle of New Orleans, the bronze statue was sculpted by artist Clark Mills in 1853. It is part of a set of four - the other statues stand in New Orleans, LA; Nashville, TN; and Jacksonville, FL. The base of the statue is inscribed, “Our Federal Union. It must be Preserved.”
Source
A related resource from which the described resource is derived
Library of Congress Prints and Photographs Division. <a href="http://www.loc.gov/pictures/item/det1994003544/PP/">View original</a>.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1830-1859
design & monuments
neighborhood
presidents
-
https://mallhistory.org/files/original/7a3749d3e71a5744c7495930b31cdff0.gif
979b02afa8cafcbeee36e25a341765ab
People
An individual, biographical data, birth and death, etc.
Birth Date
1895
Birthplace
Lithuania
Death Date
07/28/1932
Occupation
Military
Activist
Biographical Text
Hushka was born in Lithuania and moved to the United States at some point before World War I, settling in Missouri. When war broke out, he sold his butcher shop, leaving the money with his wife while he joined the Army. At that time became a citizen of the United States. After the war he had trouble keeping a job, and his wife divorced him.<br /><br />High unemployment rates due to the Great Depression motivated World War I veterans to press for their pension payments. The Bonus March was a protest and occupation of the National Mall by nearly 43,000 demonstrators. Some camped on the Mall or nearby, while others occupied government-owned buildings near the Mall. <br /><br />On July 28, 1932, Attorney General William D. Mitchell ordered the protesters be removed from the Mall. Resistance to police pressure led to an outbreak of violence. Many were injured, but Hushka was killed and Eric Carlson mortally wounded. <br /><br />When the police proved unable to evict the marchers, Army Chief of Staff Douglas MacArthur brought soldiers onto the Mall, supported by six tanks, to remove the remaining demonstrators and burn their shelters and belongings.
First Name
for nav purposes
William
Last Name
for nav purposes
Hushka
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
William Hushka
Description
An account of the resource
William Hushka, an immigrant from Lithuania, was a World War I US Army veteran who joined the 1932 <a href="http://mallhistory.org/items/show/169">Bonus Marchers</a> in their campaign to secure early payment of veterans' pensions from the government. Along with fellow veteran and marcher <a href="http://mallhistory.org/items/show/434">Eric Carlson</a>, Hushka was shot and killed by <a href="http://mallhistory.org/items/show/106">police</a> as they were trying to evict the Bonus Marchers from their encampment in Washington. He was buried with military honors at Arlington National Cemetery less than a week after being shot.
Source
A related resource from which the described resource is derived
Library of Congress Prints and Photographs Division. <a href="http://www.loc.gov/pictures/item/96500547/">View original photograph</a>.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1830-1859
Creator
An entity primarily responsible for making the resource
William Hushka
neighborhood
politics & protest
-
https://mallhistory.org/files/original/38f28e2272a3696361277d653b685117.jpg
8cb40281d7e047a7a97b40ed1fd1a84b
Document
A resource containing textual data. Note that facsimiles or images of texts are still of the genre text.
Text
Any textual data included in the document.
<p class="p1">And there is a feature, before alluded to, which is calculated to soften the distance in great measure, viz: a complete connection between the gardens of the capitol and those of the President's house, somewhat as in the case of the Chambers of Deputies and the Tuilleries, at Paris. Every one who has gazed upon the landscape to be seen from the Western front of the capitol, must have observed the large tract of waste ground, between Pennsylvania and Maryland Avenues, extending from the front of the capitol to the Potomac, and terminating at a point opposite to the President's house. It is not generally known, even to the members of Congress, that this is the national mall - the very same ground which was to have formed the "grand avenue bordered with gardens, to lead to the monument of Washington, and connect the Congress garden with the President's park," by a suitable ornamental bridge, to be thrown over the Tiber, at its mouth. Until this is improved, the two section of the city, on different sides of the canal, will never look well, for the want of any appropriate connect; and not only this, but the capitol grounds must look half finished. Indeed, it is palpably absurd that, while thousands of dollars have been expended on the comparatively small space within the iron railing of the capitol, all beyond, comprising a fine view of the Potomac, and facilities for forming a serpentine river out of the Tiber, each has been left a mere cow-pasture; when a very small outlay in planting trees, and laying out walks and drives, would make it a second Champs-Elysees. At the President's house, the same kind of half-finished work is to be seen; the grounds, immediately under the windows of the mansions, being tastefully disposed, while the whole view in the distance is marred by the unsightly appearance of the low meadows, which extend to the river. </p>
<p class="p1">There is now some prospect that what has been so long delayed by the indifference of Congress, will be, in part, accomplished indirectly, by the liberality of an individual. The proposed Smithsonian Institute is to be placed on the side of the mall, and its agricultural and botanical grounds are to be laid out in front. The erection of this will lead to the improvement of Maryland Avenue, a noble street, equal in size to the Pennsylvania, and connecting one gate of the capitol with the Potomac bridge, as the last-named connects the other gate with the President's house and Georgetown. </p>
<p class="p1">We have been thus particular in dwelling upon this part of the plan, and the necessity for improving, because no one can go there without noticing the mall; but comparatively few, even of the members of Congress, are aware that it belongs to the government, or what the design of the architect was; and we consider it important to urge the necessity of at once taking some action with regard to its completion, as the only thing, at present, wanting to give a finish to the capitol grounds, and connect the villages forming the city. </p>
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
The Seat of Government of the United States
Description
An account of the resource
Freeman Hunt wrote a series of articles for his Merchants' Magazine in the spring of 1848 describing the history and current state of the capital city, which was mostly undeveloped at the time. In the second installment of the series he wrote about the Mall. Although it looked like a <a href="http://mallhistory.org/items/show/284">cow pasture</a>, Freeman felt that it would be relatively easy and inexpensive to make a space which would rival the avenues and parks of Europe.
Creator
An entity primarily responsible for making the resource
Freeman Hunt
Source
A related resource from which the described resource is derived
<em>The Merchants' Magazine and Commercial Review</em>, volume 18. <a href="http://books.google.com/books?id=4QcdAAAAIAAJ&lpg=PA17&ots=EpUCcYMXyI&dq=merchants'%20magazine%20vol%20xviii&pg=PA149#v=onepage&q&f=false">View original</a>.
Date
A point or period of time associated with an event in the lifecycle of the resource
1848
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1830-1859
design & monuments
-
https://mallhistory.org/files/original/8d54079211d5acd96ddb4c2d7468465a.jpg
d0602f6eab76bc8d1f951720dcc7bd6a
People
An individual, biographical data, birth and death, etc.
Birth Date
1829
Death Date
1906
Bibliography
Solomon Brown was born into a free African American family in Washington, DC. His father died when he was still a young child, and by the time he was a teenager his family was homeless. At the age of 15, Brown found a job working for an assistant postmaster, helping with the<a href="http://mallhistory.org/items/show/176"> construction of the first telegraph lines</a> in the United States. Through this work he met <a href="http://mallhistory.org/items/show/349">Joseph Henry</a>, a scientist who collaborated with Samuel Morse on the telegraph and who was later appointed first Secretary of the Smithsonian.<br /><br />In 1852, Brown started working at the Smithsonian as a general laborer, building exhibit cases, moving furniture, and doing other basic jobs around the building. While working, he taught himself to read and began to study the natural sciences, possibly with the encouragement of Assistant Secretary of the Smithsonian <a href="http://mallhistory.org/items/show/150">Spencer Baird</a>. By 1869, Brown was a registrar for transportation of animal specimen. <br /><br />Brown was active in his local community, just across the Anacostia River from the museum where he worked. He helped run two Sunday schools, served as a trustee for his church, hosted picnics for the community, and represented his neighborhood in the District of Columbia House of Delegates from 1871 to 1874. Although he and his wife, Lucinda, had no children of their own, they welcomed nieces and nephews into their home. Brown wrote poetry, some of which was published in local African American newspapers. <br /><br />Brown worked at the Smithsonian Institution for 54 years. When he started, the Institution was housed in a single building, the Castle. Shortly before he retired in 1906, he attended the opening of the National Museum of Natural History. In 2004, a tree was planted near the Natural History Museum building in Brown's honor, inspired by a remark made by Brown lamenting the trees that were cut down so the museum could be built.
First Name
for nav purposes
Solomon
Last Name
for nav purposes
Brown
Occupation
Museum administrator
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
Solomon Brown
Description
An account of the resource
Solomon Brown was likely the first African American employee at the Smithsonian Institution. He began work there in 1852 as a maintenance worker, building exhibit cabinets, cleaning, and moving specimens. He advanced to serve as clerk to Secretary <a href="http://mallhistory.org/items/show/150">Spencer Baird</a>, who relied on him to serve as his eyes and ears in the Smithsonian. During the Civil War, Brown kept Baird informed about possible Confederate attacks and the status of work in the Museum. He worked closely with Baird as a naturalist and became an illustrator, lecturer, and philosopher.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1830-1859
1860-1889
Source
A related resource from which the described resource is derived
Smithsonian Institution Archives. <a href="http://www.siarchives.si.edu/collections/siris_sic_5597?back=%2Fsearch%2Fsia_search_collections%2FSolomon%2520Brown">View original photograph</a>.
Creator
An entity primarily responsible for making the resource
Solomon Brown
civil rights
design & monuments