The Archivist’s Nook: On Presidents and Parades – Inaugurations in the Archives

Ticket to the 1937 Inauguration (John A. Ryan Papers)

Every four years, on an often cold and wet wintry day, thousands gather on the National Mall and along Constitution Avenue to witness the peaceful transfer of power, as one President steps down and another takes the oath of office. Being located in Washington, DC, the CUA Archives has naturally accumulated images and documents related to the preparations and events that occur before and on Inauguration Day. While we have a number of photos and articles taken by witnesses to the inaugural ceremonies of Presidents from Woodrow Wilson to Richard Nixon, the highlight of our inaugural materials are Taft’s inaugural in 1909 and Roosevelt’s second inaugural in 1937.

While every inauguration is an historic occasion, the 1937 ceremonies stands out in our collections for being both the first swearing-in to occur on January 20 and the first to have a public benediction. And the person who delivered this first benediction was Msgr. John A. Ryan, CUA alumnus and professor. During the contentious election of 1936, Ryan had delivered a speech defending Roosevelt against the criticisms of radio host and Michigan priest Fr. Coughlin. Being a steady ally and faithful advisor to the President on matters of Catholic outreach and minimum wage advocacy, Ryan was invited by Roosevelt in early January to provide the inaugural prayer.

1909 Inaugural Parade (Powderly Photographic Print Collection)

Thanks to Ryan’s personal involvement in this inauguration – also providing the benediction at the 1945 ceremonies – the Archives possesses a number of documents from the beginning of the second Roosevelt administration. From the tickets and programs to the “President’s Platform” seating chart and a parking pass to get through security, Ryan kept the materials from the inaugural he helped bless.

As far as it being the first January inauguration, the Constitution originally specified that the President be sworn in on March 4. With travel much easier and concerns over the Lame Duck period in both Congress and the White House, the passage of the Twentieth Amendment occurred in 1933, moving Inauguration Day to its current date. The 1937 Inauguration thus marked the first time the oath-taking occurred on a blustery January day.

Of course, it was not the first frigid inauguration! Weather was clearly not a factor in determining the date of the presidential swearing-in. As witnessed in the Terence Powderly Photographic Prints collection, snow was a frequent backdrop to the March ceremonies. The 1909 Inauguration is a prime example that the later date did not guarantee a sunny day in Washington!

Powderly snapped the top photo of the National Treasury staged for the 1917 Inaugural Parade. I snapped the below photo at the same site for the 2017 Parade.

While Powderly worked on-and-off with Presidents from McKinley to Coolidge, his photographs highlight the spectator side of inaugural set-ups and parades. Present in his collection are images of the parades of both Taft (1909) and Wilson (1913, 1917).  The 1909 Inauguration, then held on March 4, witnessed a blizzard the night before. Dumping 10 inches of snow on the city, the storm threatened to cancel the outdoor events, including the traditional parade. While the weather forced the swearing-in to move indoors to the Senate chamber, thousands of city workers labored frantically to clear the parade route. Due to their hard work, the Inaugural Parade proceeded as normal, albeit with many snow drifts visible along the route. (Incidentally, this was also the last year any official Inaugural Ball was held until 1949. When Wilson took office in 1913, he found the concept of galas unbecoming and too expensive and none were held again until Truman’s inaugural.)

No matter the weather – rain, snow, or shine – or the political or social changes that occur, and with or without an accompanying dance, the route of the Inaugural Parade and process of oath-taking has remained a constant in American politics and Washington life.

You can view find out more about the individuals who provide this glimpse into past inaugurations here:

The Archivist’s Nook: New Year’s Greetings from The Young Catholic Messenger

January 1, 1891, illustration of birds with a quote from Matthew 6: 26: “Look at the birds of the air: they neither sow nor reap nor gather into barns, and yet your heavenly Father feeds them. Are you not of more value than they?” The Young Catholic Messenger Collection. American Catholic History Research Center and University Archives.

The Young Catholic Messenger, 1885-1970, was the premier publication of George Pflaum of Dayton, Ohio, who also produced the more famous though not so long-lived Treasure Chest of Fun and Fact, 1946-1972, subject of several other blog posts from The Archivist’s Nook. We thought highlighting the YCM would be a great way to start off the New Year, and also make an appeal for donations of missing issues, either print or digital copies, from the first forty years we need to complete our collection, especially the digital collection we are building online.

In the nineteenth century largely Protestant America was wary of the millions of Catholic immigrants coming to the United States. Parochial schools were not trusted to teach young Catholics to be proper Americans and many states passed constitutional amendments forbidding the use of tax money for their funding. Nevertheless, by the 1880s the American Catholic Church had a wide network of parishes and parochial schools to safeguard the religion and culture of Catholic ethnic groups. Most of the teachers were religious sisters and priorities in the classrooms beyond knowledge included piety and discipline. The growth of Catholic schooling naturally generated a Catholic educational publishing industry. The YCM was the inaugural publication of the Pflaum Publishing Company, which created religious and civic reading materials distributed to students in the Catholic parochial schools that later included the Junior Catholic Messenger, Our Little Messenger, and the aforementioned Treasure Chest of Fun and Fact.

In the YCM’s early years the issues tended to be shorter and more literary in focus, while later on the number of pages per issue increased as more news and current events were included.  The YCM was published during the calendar year, January to December, through 1925, going from twenty-four issues a year to thirty-two. In 1926 they published a shortened volume, number 42, January – June, with twenty-four issues (again). This was followed by volume 43 with forty issues and aligned to the academic school year, September 1926 – June 1927. This was cut back to May in 1934-1935 and the issues numbers steadily declined until publication ceased in 1970, going down to thirty-eight issues in 1931-1932, thirty-seven in 1934-1935, thirty-six in 1940-1941, thirty-five in 1943-1944, thirty-four in 1944-1945, thirty-three in 1957-1958, thirty-two in 1961-1962, and only twenty-eight in the last year of 1969-1970.

The American Catholic History Research Center and University Archives of The Catholic University of America currently needs access to Young Catholic Messenger volumes 1-6, 1885-1890; volumes 8-24, 1892-1908; volumes 26-28, 1910-1912; and volumes 32-40, 1915-1925. We are open to receiving individual issues as well as full volumes for donation, loan for scanning, or links to copies scanned elsewhere. We are also willing to negotiate any reasonable fees required. For more information, please contact us via email at archives@mail.lib.cua.edu.

January 1, 1909, cover includes a New Year’s poem and an illustration of the flight of the Holy Family to Egypt. The Young Catholic Messenger Collection. American Catholic History Research Center and University Archives.
January 1, 1913, New Year’s poem and photo of boy sled riding. The Young Catholic Messenger Collection. American Catholic History Research Center and University Archives.
January 1, 1926, New Year’s poem, story, and illustration. The Young Catholic Messenger Collection. American Catholic History Research Center and University Archives.

The Archivist’s Nook: A Very Merry Christmas from the Fathers Hartke and Magner

In 1972, Rev. Magner’s Christmas card transports us all the way to Jerusalem.
In 1972, Rev. Magner’s Christmas card transports us all the way to Jerusalem.

In the history of The Catholic University of America, two priests are truly larger than life:  Father Gilbert V. Hartke (1907-1986) and Rev. Msgr. James Magner (1901-1995). Both men served the University community for decades: 28 years for Magner and 37 years for Hartke. Best known for running CUA’s theater program, CUA’s playhouse still bears Father Hartke’s name today, while Rev. Magner was renown on campus for leading world wide tours to such far flung places as Mexico, India, and even behind the Iron Curtain.

“May the joys of Christmas shine brightly for you throughout the New Year.” Signed Lady Bird Johnson and Lyndon B. Johnson, 1967.
“May the joys of Christmas shine brightly for you throughout the New Year.” Signed Lady Bird Johnson and Lyndon B. Johnson, 1967.

Nothing makes these big personalities more human and relatable than the several dozen Christmas cards they’ve left behind. Rev. Magner meticulously kept track of the names and addresses of each person he sent a Christmas card to every year. Here at the Archives, we have many copies of his personal cards from the 1940s to the early 1970s. His cards have a somewhat trademark style drawing on his adventures abroad; they usually involve a solo shot of this well-traveled priest in an exotic location. Some of our favorites include Japan, Costa Rica, Alaska, Jerusalem, and Ireland.

Although show-biz priest Fr. Hartke did not create signature personal Christmas cards, he certainly received them! He received not just one, but a total of five White House Christmas cards from then President Lyndon B. Johnson and First Lady “Lady Bird” Johnson. These large, gold framed Christmas prints showing White House winter scenes remain part of the Archive’s museum collection today.

Merry Christmas to our High Flying Friend!
Merry Christmas to our High Flying Friend!

While we were unable to locate a presidential Christmas card among Rev. Magner’s papers, he did get three impressive hand drawn cards from a devoted pair of ladies. Whoever they were, Helen and Betty really captured something of Rev. Magner’s glamorous, jet setting lifestyle. In one card, a Hawaiian shirt clad Magner climbs into an old fashioned cocktail while another depicts a fez wearing Magner flying a magic carpet and simultaneously smoking hookah.

Judging by their Christmas cards, these two priests effortlessly lead interesting and adventurous lives. These ephemeral items give a glimpse into the personal lives of two men who redefined their roles as priests and did great things for Catholic University in the process. Whether making and receiving Christmas cards or living life to the fullest, each of these men did it in their own memorable way. Merry Christmas from the Fathers Hartke and Magner!

The Archivist’s Nook: A Few Leaves from St. Rose’s on Pearl Harbor Day

“Schools At War: A Report to the Nation” was a report that schools around the country filed with the Office of Education and the Wartime Commission during the war. This is the cover of St. Rose’s 1943 submission.
“Schools At War: A Report to the Nation” was filed with the Office of Education and the Wartime Commission during the war. This is the cover of St. Rose’s 1943 submission.

About a month after the United States entered the Second World War, The Young Catholic Messenger, a weekly magazine that could be found on the shelves of Catholic school libraries throughout the country, published an article titled “United We Stand.” The article pledged that Catholics would support the war effort and outlined ways young people could “do their part for victory.” Catholic youth could make “crusades of prayer, sacrifice, Masses and Communions for victory and peace and for our soldiers and the leaders of the country.”¹

This braiding of Catholicism and Americanism occurred over and over again among youth on the home front. It marked a break from the past in that earlier Catholic proclamations of Americanness were often made defensively, amid Protestant accusations that Catholics weren’t fit for American institutions because of their membership in a hierarchical organization headed by the pope. Instead, during the war, a newly confident Catholic Americanism emerged in Catholic educational institutions and popular culture across the country as Catholics were fully enlisted in the effort to win the war.²

As noted in a previous blog post, Pope Pius XI requested that the Catholic University of America establish a series of educational materials that would promote Christian and democratic principles in the wake of rising totalitarian regimes in Europe. The result was the Commission on American Citizenship, which established a series of civic texts blending Catholic teaching and democratic principles and used in thousands of Catholic schools across the country from the early 1940s through the 1970s. This blending of American national identity with Catholic identity found new forms across the U.S. during the Second World War.

St. Rose’s Victory Corps in formation, 1943.
St. Rose’s Victory Corps in formation, 1943.

St. Rose’s Technical School records contain a gem of an artifact related to this new blending of Catholicism and Americanism in youth culture that is a fitting offering for Pearl Harbor Day. St. Rose’s was established in 1868 for female orphans. After 1895 it was incorporated as school for female students over 14 years of age to learn trades considered suitable for women at the time, namely, “plain and fancy sewing, dressmaking, and the responsible duties of practical housekeeping.” Between the late nineteenth and the early twentieth centuries, the young women remained at the school until they were twenty-one, “at which time they are thoroughly competent to make an honest independent living.” Indeed, one history noted, “our graduates make splendid business women, and they conduct large establishments in all the large cities.”³

Unfortunately, we do not have testimony from the students of St. Rose’s to corroborate such claims. We do know that a classical and business high school curriculum was added to the “technical” curriculum of the earlier period. And we have a student created journal from 1943, a full year into the Second World War. “Schools at War, A Report to the Nation” was a report on war-related student activities that took place in the school during the war. The report reflects the characteristic blending of Catholicism and Americanism we see among young Catholics on the home front during the war.

St. Rose students show off their “Books are Weapons” display.
St. Rose’s students show off their “Books are Weapons” display.

The report itself was dedicated to the “Immaculate Mother of God, the Patroness of the United States, the Ideal and Inspiration of every student at St. Rose.” The St. Rose Victory Corps centered many activities around war service. Like many Americans, they prolonged use of their clothing by mending and darning. They saved scrap materials such as old keys, cans, rubber and fat—all in short supply due to war rationing. Like many American youth, they made slippers and bandages for soldiers, donated blood, and collected garments for refugees. Using the title, “Books are Weapons,” they created a school display for National Catholic Book Week, claiming “books shape lives of free people,” no doubt to contrast with Nazi book burnings of the 1930s. The report and its wartime brand of Catholic Americanism can be viewed in its entirety here.


¹Young Catholic Messenger, January 9, 1942, accessible via American Catholic History Research Center and University Archives: http://cuislandora.wrlc.org/islandora/object/achc-ycm%3A23/datastream/PDF/view

²Maria Mazzenga, “More Democracy, More Religion, Baltimore’s Schools, Religious Pluralism and the Second World War,” in One Hundred Years of Catholic Education, John Augenstein, Christopher J. Kauffman, Robert J. Wister, eds. (National Catholic Education Association, 2003), 199-219.

³Sister Rose, “St. Rose’s Technical School History,” 1909, 14; in Catholic Charities DC, St. Rose Reference File, American Catholic History Research Center and University Archives, Catholic University, Washington, D.C.

“Saint Rose to Observe 75th Jubilee,” Catholic Review, April 30, 1943.

The Archivist’s Nook: All Dressed Up – On Turkeys and Tuxedos

Sorry, Mr. Turkey, but it would a social faux pas to decline the invitation this late.
Sorry, Mr. Turkey, but it would be a social faux pas to decline the invitation this late.

Over the next week, the campus will become rather quiet. Most students and staff will hop on various planes, trains, and automobiles on their way to family and feasts. Many readers may even have their own Thanksgiving traditions from watching football to volunteering at a soup kitchen. But would you spend Turkey Day attending a formal soiree after the big game? If you were a student at Catholic University in the 1920s, and had remained in DC, you may very well have. In fact, if you found yourself on the campus in the 1930s, you may also have witnessed bonfires and parades.

One of the earliest CUA social traditions often centered on Thanksgiving – the Utopian Club Annual Gala. Founded on March 14, 1923, the Utopian Club was one of several men’s social organizations that existed in the early twentieth century at CUA. Among its peers were the Senators Club, the Abbey Club, the Dod Noon Club, and (by 1935) the Cave Dwellers. All these organizations acted as fraternal and alumni societies, organizing formal galas and casual gatherings known as “smokers.”

Students posing at one of the 1930s galas.
Students posing at one of the 1930s galas.

Within its first year of life, the Utopian Club inaugurated a tradition of hosting an elaborate ball for its alumni and active members, as well as invited guests from the campus community. What began as a simple event in 1923, soon became one of the most anticipated social occasions of the academic year. The student press closely followed the announcements of the Utopian Club’s social engagements, waiting for its elected head, the “Supreme Utopian,” to announce the Ball’s date, venue, and ticket availability.

While these soirees technically had no fixed date, they were traditionally held in the ballroom of a local hotel on Thanksgiving evening following a CUA football game. Other events, such as the Abbey Club’s Tea Dance were often held the following Saturday. These activities were originally intended to liven up the moods of students who were unable to spend Thanksgiving back home. These dances, as the December 1, 1926 Tower put it, “officially [close] one of the most brilliant weekends that will be written into the historical archives of the C.U.  Thanksgiving weekend is always anticipated by those ‘left behind’ for the holiday. Days stuffed with sparkling dances, ardent music, a rousing football game, and dazzling girls, everything to make the existence of the stay-at-home a little easier to endure.”

Conga Line at the Homecoming Dance, ca. 1950s
Conga Line at the Homecoming Dance, ca. 1950s

The Senators Club, an alumni organization, soon began to hold its own Thanksgiving gala alongside the Utopian Club in 1928. By the 1930s, the Thanksgiving galas became closely associated with the Homecoming football game, held during the holiday weekend. Thus, the various social events of Thanksgiving weekend became ever more lively affairs as the 1930s wore on, with celebratory bonfires, jitterbug contests, freshmen pajama parades, and votes to determine the “handsomest man” and the man with the “biggest feet.” With the Tower also reporting multiple visits by motorcycle-bound police and impromptu parades through the Brookland neighborhood, the student population often clashed with the administration and alumni community over what forms of Homecoming spirit were acceptable.

Homecoming royalty was first selected in 1949. Pictured: 1967 Homecoming Queen and court.
Homecoming royalty was first selected in 1949. Pictured: 1967 Homecoming Queen and court.

By the 1940s, the Thanksgiving traditions of the previous decades began to fade. The dates of the dances and the Homecoming game itself eventually became movable, though soirees continued for years (and the Homecoming dance never fully vanished). The original founder of the galas, the Utopian Club, continued to thrive well into the 1980s, albeit under a new name. In 1956, in honor of its long-time mentor, Fr. Ignatius Smith, O.P, it adopted the name Sigma Pi Delta. A collection of the organization can be viewed in the Archives.

The Archivist’s Nook: Social Media from the Stacks

Social media can be a powerful tool for libraries, archives, and museums to create a branded, collaborative online presence. But where to begin? Before diving head first into the latest social media trends, cultural heritage institutions must first ask several questions, such as: What are we hoping to achieve by using social media? Who will be creating the content? Who is our intended audience? Nina Simon, author of Museum 2.0 blog and The Participatory Museum, presents three simple steps to crafting a basic social media plan:

Part 1. Define your goals.
Part 2. Define your resources and boundaries.
Part 3. Develop the ideas and explain the plan.¹

Know your hashtags and your audience! Instagram post from @CUAarchives
Know your hashtags and your audience! Instagram post from @CUAarchives

Start with the basics of who you are and what you want to achieve. For example, the Australian Museum first defined their social media strategy in 2009 after participating in a staff wide workshop, where they developed a vision statement: “To inspire the exploration of nature and cultures through sharing; engaging; building relationships and influencing, while adapting our organizational culture”². Goals could include reaching new audiences and encouraging the growth of online communities around your institution.

Next, evaluate what resources are needed to achieve these goals. Understandably, short-staffed institutions often find themselves overwhelmed at the prospect of maintaining a vibrant social media profile. Here at the American Catholic Research Center and University Archives, we each take turns writing posts for this blog. This not only distributes the workload, but also creates a variety of content and perspectives! There are also many resources and articles available online that give great recommendations and tips to make the most of what you have. Here are just a few:

Once you have a few ideas, it is now time to develop them further and write them down. The Australian Museum utilized a simple blog post to present the main findings of their workshop. Through a clearly articulated strategy, museums are able to explain to the entire staff as well as stakeholders the value of participating in social media.

Here at the Archives, knowing the potential audiences for this blog and how to reach them plays an important role in our social media plan. With about 400 personal papers and organizational records, 100 University records collections, and 5,000 museum objects, we have a range of material that appeals to many different groups. Our blog post content reflects this diversity, as we address topics not only relating to CUA’s history, but to labor leaders, the World Wars, comic books, library science, and much more! We pinpoint the audience most likely to appreciate a particular blog post – whether that be the CUA community, particular dioceses located around the country, or other DC area archives – and market the blog directly to them. This could be by tagging potentially interested institutions on Twitter or Instagram, adding relevant hashtags, emailing directly or via a listserv, and whatever else we can think of!

Showcase anniversaries and other dates important to your institution. Twitter post from @CUAarchives
Showcase anniversaries and other dates important to your institution. Twitter post from @CUAarchives

As the Museum Assessment Program’s Social Media Handbook explains, “Starting social media can be overwhelming, but remember that at its heart, social media is not actually about technology. Rather, it’s all about conversation and story telling. If you have a good story to share, people will want to listen and respond.” Museums, archives, and libraries have moved towards a new identity: one of dialogue, collaboration, and community. Social media plays a key role in portraying this identity, as cultural heritage institutions around the world create new narratives and two-way conversations with their audiences. By carefully evaluating their goals and resources, even the smallest archive can utilize social media to give their institution a face and personality to share with the world online.

Peruse our own social media content here:


¹Simon, N. (2009, June 9). How to develop a (small-scale) social media plan. [Blog Post]. Museum 2.0. Retrieved from http://museumtwo.blogspot.com/2009/06/how-to-develop-small-scale-social-media.html

²Kelly, L. (2009, Nov. 19). The museum’s social media strategy. [Blog Post]. Australian Museum. Retrieved from http://australianmuseum.net.au/blogpost/museullaneous/the-museums-social-media-strategy

The Archivist’s Nook: The Night the Martians Came to Campus

Martian tripod, crossing the Potomac perhaps?
Martian tripod, crossing the Potomac perhaps?

On the night of October 30, 1938, a startling message went across the airwaves of America: “Ladies and gentlemen, I have a grave announcement to make. Incredible as it may seem, both the observations of science and the evidence of our eyes lead to the inescapable assumption that those strange beings who landed in the Jersey farmlands tonight are the vanguard of an invading army from the planet Mars.”

Adapted from H.G. Wells’s War of the Worlds, this Orson Welles radio drama stirred up quite the reaction in a nation worried about war and disaster. The infamy of this broadcast can be seen in the various headlines that followed on Halloween, 1938. Tales of a panic-stricken nation, mass evacuations and hospitalizations, and armed gangs hunting alien invaders are splashed across newspapers across the nation (and world). This broadcast not only has become a legend, but it staked out Welles as a master of dramatic adaptations.

New York Daily News headline, Oct. 31, 1938
New York Daily News headline, Oct. 31, 1938

Of course, the reports of mass hysteria have recently been questioned (see here and here), with the media hype playing more of a role in defining the legend than the actual response by listeners. Nevertheless, at the time of the broadcast, there is no doubt that many people were entertained and enjoyed the tension and terror the radio drama provided. There are even some people who had a bit of fun with the idea of a “Martian hoard” descending upon the nation.

For while it makes a good Halloween tale to imagine residents of Washington worried that they may soon be facing the aliens and their horrible tripod machines, we should remember that others did not give into fear but prepared to make a tongue-in-cheek stand against the “Monsters of Mars.” As reported by the Tower war correspondent, Paul Eldridge ’39, Catholic University students allegedly waged a pitched battle against the Martians.

In the broadcast, the military called on all observatories to watch Mars for further ships being launched. Unfortunately, Catholic University lacked the means to assist in this national scouting mission, with the campus observatory having been lost over a decade prior. Built in 1890, the Observatory burned down, coincidentally, on Halloween night, 1924. (The remainder of the telescope base can still be seen outside of Aquinas Hall today.) Without this warning system, Eldridge reports, the advance of Martian scouts into the Brookland neighborhood took the campus community by surprise. Fortunately, the Martians were distracted by “10 double-fudge sundaes” at a local diner. This gave the students enough time to mount a defensive perimeter, with the rear guard strategically placing themselves out of sight and “under each bed.”

Observatory, ca. 1910
Observatory, ca. 1910

With civilians evacuated to the chapel, Mr. Eldridge reports that the student defenders rallied and mounted several defenses. They mined the halls of campus buildings with mousetraps, located skates to create a mobile infantry, and erected barricades, constructed of “[l]ogic, history, Latin and Greek textbooks…because these were hard to get through.”

Fortunately, the invasion was swiftly ended, as the one-hour mark of the broadcast arrived. Despite the valiant efforts of the “Grand Army of Catholic University,” the invasion from Mars was ultimately halted by Earth’s bacteria (or the end of the broadcast). Welles informs us that the Martians were “slain, after all man’s defenses had failed, by the humblest thing that God in His wisdom put upon this earth.” In the mocking report that Eldridge issued, he reveals a student body both prepared to defend its campus and willing to laugh at itself.

Study this example well, for you never know if the Martians may return someday…

The Archivist’s Nook: To Be or Not to Be – Shakespeare on Campus

One can imagine paper mache Hartke exhorting his Shakespearian thespians. Drama Department Records, American Catholic History Research Center and University Archives.
One can imagine paper mache Hartke exhorting his Shakespearian thespians. Drama Department Records, American Catholic History Research Center and University Archives.

Perhaps the best known and most oft quoted line of legendary English playwright William Shakespeare (1564-1616) is “To be, or not to be, that is the question.” For the Drama Department of The Catholic University of America (CUA) the question was decisively answered with its founding in 1937 by the brilliant and charismatic Gilbert V.F. Hartke (1907-1986), the “Show-Biz Priest,” subject of a recent blog post by my colleague Maria Mazzenga. With the work of Shakespeare a staple, Hartke, a D.C. icon, directed over sixty CUA productions and many more for the National Players, his touring company. He also wrote five plays and toured with his students both nationally and internationally. Today, the theatre at Catholic University bears his name and is still performing Shakespeare on an almost biennial rate.

An eerie scene from the 1952 production of MacBeth. Drama Department Records, American Catholic History Research Center and University Archives.
An eerie scene from the 1952 production of MacBeth. Drama Department Records, American Catholic History Research Center and University Archives.

The last play of the 2016-2017 season, coinciding with the 80th anniversary of the CUA Drama Department, is the return of MacBeth, otherwise known as ‘The Scottish Play’ or ‘The Bard’s Play’ to Hartke Theater for the first time since 1976. Anticipation of this event prompted me to examine the rich history of Shakespeare at CUA. While there were small scale performances of The Bard’s plays by various student groups before the Drama Department was created in 1937, the focus here is on the larger scale productions of CUA Drama since then, in particular because the CUA Archives preserves so many of the records, including photographs, programs, prompt books, reviews , cast lists, scene breakdowns, an and analysis of the plays. The 37 known Shakespeare plays are divided into three genres, with about a dozen each as comedies, tragedies, and histories. CUA Drama has performed nineteen of the plays, many multiple times in the eighty seasons culminating with MacBeth in 2017. 

An Irish looking Juliet from the 2007 Romeo and Juliet set in Fascist Italy. CUA Drama Department Records, American Catholic History Research Center and University Archives.
An Irish looking Juliet from the 2007 Romeo and Juliet set in Fascist Italy. CUA Drama Department Records, American Catholic History Research Center and University Archives.

CUA’s focus has been primarily on the tragedies, performing nine of them to date:: Coriolanus 1938-1939 and 1961; Cymbeline 2011; Hamlet 1956; Julius Caesar 1953, 1962-1963, 1972, and an abridged version called Brutus, 2012-2013; King Lear 1948-1949; MacBeth  1952, 1976, 2017; Othello 1951,1960; Romeo and Juliet 1949-1950, 1960, 1980, 2000, 2007; and The Tempest  1951-1952, 1968-1969. The most performed play is Romeo and Juliet. A Washington Post reviewer found the first production in 1949 to be “performing smoothly” and ‘commendably faithful”¹, but more recent efforts have been quite innovative, including an interracial version in 2000, jointly produced with Howard University, and the 2007 show set in twentieth century Fascist Italy.

Program from the 2001 A Midsummer Night’s Dream, which also marked the thirtieth anniversary of Harkte Theater. CUA Drama Department Records, American Catholic History Research Center and University Archives.
Program from the 2001 A Midsummer Night’s Dream, which also marked the thirtieth anniversary of Harkte Theater. CUA Drama Department Records, American Catholic History Research Center and University Archives.

The comedies are also well represented, with seven featured so far:  As You Like It, 1964-1965, 1986, 1997; Love’s Labor Lost 1986, 2005; Merchant of Venice 1957-1958, 1978, 2014; Midsummer Night’s Dream 1959, 1979, 2001; Much Ado About Nothing 1946-1947, 1993; Taming of the Shrew 1959, 1984; and Twelfth Night 1956, 1982, 2003. As with the tragedies, the comedies were generally well reviewed, with the Evening Star stating that the 1959 production of A Midsummer Night’s Dream showed “a proper respect for the imagination of audiences.”² Less attention however has been paid to the histories, with only three performed to date: Henry IV 1953-1954, Richard II 1965-1966, and Richard III 1954-1955, 1988-1989. A finding aid, or collection guide, for the papers of Fr. Hartke is available online. For more information on the CUA Drama Department records please email archives@mail.lib.cua.edu.


¹Richard Coe. The Washington Post, November 7, 1949, p. 12.

²Harry MacAthur. The Evening Star, December 7, 1959, p. C-6.

The Archivist’s Nook: The Significance of Eddie Patterson’s Friends

Illustration for poem, “World Brothers” from These Are Our Horizons, by Sister M. Charlotte and Marry Synon (Ginn and Company, 1945). Note the multiple national and ethnic backgrounds of the images, intended to underscore an ideal of global unity after the Second World War.
Illustration for poem, “World Brothers” from These Are Our Horizons, by Sister M. Charlotte and Marry Synon (Ginn and Company, 1945). Note the multiple national and ethnic backgrounds of the individuals, intended to underscore an ideal of global unity after the Second World War.

Nineteen-thirty-eight was not an auspicious year as far as the stability of Europe went. Adolph Hitler’s invasion into non-German territories proceeded at an alarming rate. Benito Mussolini had been running Fascist Italy as a police state for over a decade. The Vatican held uneasy diplomatic relations with both powers. Further east, Josef Stalin presided over a Soviet Union unfriendly toward religion. In short, expansionism and totalitarianism appeared to be consuming Europe and, of course, a war would begin the following year to ensure it didn’t.

The year also marked the Golden Jubilee of the Catholic University of America, which is a fancy Catholic way of saying the University turned 50. Worried about the fate of Europe and, indeed, of Catholicism, Pope Pius took advantage of the University’s 50th birthday to make a request. “Christian doctrine and Christian morality are under attack from all quarters,” he said, adding, “dangerous theories which a few years ago were but whispered in conventicles of discontent are today preached from the housetops and are even finding their way into action.” As the representative educational institution of the American hierarchy, the Pope noted, the University was endowed with the “traditional mission of guarding the natural and supernatural heritage of man.” Toward fulfillment of that mission, wrote the Pope, “it must, because of the exigencies of the present age, give special attention to the sciences of civics, sociology, and economics” in a “constructive program of social action” that fit local needs.¹

Following the Pope’s directive, the Bishops instructed the University to prepare materials of instruction in citizenship and Christian social living for use in the Catholic schools of the United States. The Commission on American Citizenship was organized in 1939 to carry out the Bishops’ mandate. They decided that the Commission would outline a statement of Christian principles as requested by the bishops, create a curriculum for the elementary schools, and oversee the writing of a series of textbooks to embody the social message of Christ. According to Dr. Mary Synon, who oversaw much of the day-to-day operation of the Commission, while the Department of Education and the School of Social Science did much of the Commission’s work, practically every department and school of the University contributed significantly.

One product of this effort was a series of textbooks for elementary through high school students used in most U.S. Catholic schools from the 1940s through the 1970s. For Catholic school students from the first through eighth grades, the Commission designed the Faith and Freedom series of basal readers based on the principles espoused in the curriculum. Aiming to establish Christian principles in the minds of students toward their use in daily living, the writers of the readers–Sister Mary Marguerite for the Primary Grades and Sister Mary Thomas Aquinas, Sister Mary Charlotte and Dr. Mary Synon for the intermediate and upper grades–built a series on social education according to the principles cited as base for the work of the Commission.

Image from “Eddie Patterson’s Friend,” from These Are Our People (Ginn and Company, 1943). What’s wrong with Eddie’s friends? The story’s answer: not a thing.
Image from “Eddie Patterson’s Friends,” from These Are Our People (Ginn and Company, 1943). What’s wrong with Eddie’s friends? The story’s answer: not a thing.

According to a 1946 Commission report, these readers were used in more than 6,000 of the 8,000 Catholic elementary schools in more than thirty-five archdioceses and dioceses in the United States. Copies of texts in this series were officially requested by the military authorities who were revising systems of education in occupied Japan and Germany after World War II. Catholic publicists in Belgium, France and the Netherlands referred to this series for their future education plans. Missionaries in the Philippines requested the copies for children there, and nearly every Catholic school in Hawaii used the texts. Also, the Commission received many inquiries from educators about using the series as possible models for books to be used in non-Catholic schools. A key theme throughout the readers is cooperation across cultures and social classes and an emphasis on Christian democratic ideals in creating a less conflicted postwar world.

Which brings us to the significance of one 1943 text story titled “Eddie Patterson’s Friends.” Eddie was an extremely generous and open-minded young man who “finds the queerest people,” according to his rather judgmental sister Mary. Mary worried about Eddie’s strange friends with his birthday party coming up. The girls on the block where they lived would “laugh if we let Eddie ask anyone he wants to the party.” Mary went so far as to convince their mother to throw Eddie a surprise party for which she and her sister would control the guest list to keep out those she felt should be excluded.

Who were the excluded? “The smiling Yim Kee, whose father ran the Chinese laundry… Frank Bell, the boy whose father had been taken away by the police.” And, “Silas Jefferson, whose father worked as porter on a train.”² Clearly these are stereotypes of Chinese Americans, African Americans and a neglected and possibly impoverished child. But consider the year of publication: 1943. The Chinese Exclusion Act passed in 1882 barred Chinese immigrants from citizenship until it was repealed in 1943. African Americans were legally segregated from whites, and in fact segregated virtually everywhere in the U.S. Stories like this one pointed to the end of such practices and customs.

A Finding Aid to the Commission on American Citizenship records can be found here: http://archives.lib.cua.edu/findingaid/americancit.cfm


¹Maria Mazzenga, “More Democracy, More Religion: Baltimore’s Schools, Religious Pluralism, and the Second World War,” in One Hundred Years of Catholic Education: Historical Essays in Honor of the Centennial of the National Catholic Educational Association (National Catholic Education Association, 2003); Finding aid to the Commission on American Citizenship Records: http://archives.lib.cua.edu/findingaid/americancit.cfm.

²“Eddie Patterson’s Friend,” from These Are Our People by Sister M. Thomas Aquinas, O.P., M.A. and Mary Synon (Ginn and Company, 1943), 44-56, 46.

The Archivist’s Nook: A Labor of Love – Lantern Slides of T.V. Powderly

“Railroad Train” Lantern Slide #11
“Railroad Train” Lantern Slide #11

A treasure trove of almost 2,000 lantern slides belonging to labor leader Terence Vincent Powderly (1849-1924) resides in our Archive. These transparent glass slides, also referred to as “magic” lantern slides, are an eclectic mix of images taken by amateur photographer Powderly as well as commercially produced images he purchased. As a native of Carbondale, Pennsylvania, Powderly incorporated many images of creeks and mountains of the keystone state – as well as the occasional coal mine – into the collection. True to his roots as a leader of the Knights of Labor, many images of industrial technology are included, especially of locomotives. There are monuments and works of art from around the world, as well as personal portraits of the Powderly family at their home in the Petworth neighborhood of Washington D.C.

Short History of Lantern Slides

To get a handle on this collection, we first look to the history of the lantern slide format and how it was used. Photographic lantern slides appeared about a decade after the invention of photography in the mid-1800s, although projectable hand painted images existed long before. At about 3.25 x 4 inches, lantern slides are physically made up of a negative printed onto a sheet of glass as a positive, transparent image. The image could then be painstakingly hand colored or matted to achieve the desired effect. Next, an additional sheet of glass was placed over the transparency, creating a glass “sandwich” to protect the surface of the photograph. Finally, the two sheets of glass were taped together, and could be inserted into a magic lantern for projection and viewing.

Lantern slides were used for two purposes: entertainment and education. The primary purpose of our USCCB Lantern Slide Collection was educational, as they accompanied presentations detailing the National Catholic Welfare Conference’s work with veterans of the First and Second World Wars in the United States. The diversity and sheer number of slides in Powderly’s collection suggest he used his slides both for entertainment and educational purposes depending on the setting. While the family portraits could have been used as the equivalent of “family home videos,” the images of industry could have been part of his work with the Knights of Labor.

These original lantern slide boxes are a little worse for wear!
These original lantern slide boxes are a little worse for wear!

Additional information on the history of lantern slides:

Taking Inventory

At some point prior to the arrival of the slides at the Archives in 2009, someone attempted to reorder the collection into simple thematic groups, such as “Stone Monuments,” “D.C. and World” and “People.” In the archival world, “respect des fonds” (preserving the original order of a group of records), is an important and fundamental principle. Often, the original order shows relationships and provides insight into how the records were accessed and used. Presumably, Powderly had his own numbered list so he could easily keep track of his collection. Since we do not have this original master list, we will be reconstructing it as we process this large collection. Going through each of the slides, we will record basic information such as the slide number and title. This is also a good time to take note of any damage the slides might have sustained.

“American Group, Albert Memorial, London” Lantern Slide #817
“American Group, Albert Memorial, London” Lantern Slide #817

Rehousing

After completing the list, if we find it is more valuable for researchers to have the slides in the original order, we will reorganize them to match Powderly’s original intent. When handling the slides, we wear powder-free nitrile gloves to protect the images from fingerprints and hand oils.  During this phase, we will also remove the slides from their crumbling containers and place them in archival, acid free boxes. Before doing so, each lantern slide will be carefully enfolded in a four-flap envelope to protect the surface of the image. Lantern slides are surprisingly heavy, so we place no more than 70 slides in a small box. Even then, these boxes are like bricks! As of this writing, we are a little under half way through rehousing the slides.

Additional information on the housing of lantern slides:

Digitizing

Once a collection is organized and rehoused, the next question is to determine whether or not to digitize. Some questions to ask before choosing to digitize could include: Are these materials unique? Will digitization promote access to these materials? Will digitization help preserve the collection? In our case, digitization is not a high priority as many of the same images have already been scanned from prints available through the Terence Vincent Powderly Photographic Prints Digital Collection. However, should we choose to pursue digitization, many wonderful resources are available online to guide us through the process.

“Trinity College, D.C.” Lantern Slide #917
“Trinity College, D.C.” Lantern Slide #917

Additional information on the digitization of lantern slides:

Last Thoughts

Lantern slides are an interesting format with a rich history and a few special concerns, such as sensitivity to light, fragility, heavy weight, and need of specific housing materials. By taking a systematic approach to the various steps of the project, our large collection belonging to Terence Vincent Powderly will continue to be organized and rehoused as time and resources permit. For additional information about the life and times of amateur photographer, slide maker, labor leader, and former mayor of Scranton T.V. Powderly, check out the finding aid of his manuscript collection.