Cultures & Communities

Cleveland Many Peoples One Language Poster

Furniture, cooking wares, clothing, works of art, and many other kinds of artifacts are part of what knit people into communities and cultures. The Museum’s collections feature artifacts from European Americans, Latinos, Arab Americans, Asian Pacific Americans, African Americans, Gypsies, Jews, and Christians, both Catholics and Protestants. The objects range from ceramic face jugs made by enslaved African Americans in South Carolina to graduation robes and wedding gowns. The holdings also include artifacts associated with education, such as teaching equipment, textbooks, and two complete schoolrooms. Uniforms, insignia, and other objects represent a wide variety of civic and voluntary organizations, including youth and fraternal groups, scouting, police forces, and firefighters.

Letter to "Dear Sister" from Samuel Copp

The Copp Collection contains a variety of household objects that the Copp family of Connecticut used from around 1700 until the mid-1800s.
Description
The Copp Collection contains a variety of household objects that the Copp family of Connecticut used from around 1700 until the mid-1800s. Part of the Puritan Great Migration from England to Boston, the family eventually made their home in New London County, Connecticut, where their textiles, clothes, utensils, ceramics, books, bibles, and letters provide a vivid picture of daily life. More of the collection from the Division of Home and Community Life can be viewed by searching accession number 28810.
Location
Currently not on view
date made
1808-03-18
originator (author or composer, etc.)
Copp, Jr., Samuel
originator (author, etc.)
Copp, Jr., Samuel
ID Number
DL.006873.182
catalog number
6873.182
accession number
28810

Face Vessel

The tradition of shaping human likenesses on ceramic vessels is thousands of years old. Face vessels held different meanings in different cultures around the world.
Description
The tradition of shaping human likenesses on ceramic vessels is thousands of years old. Face vessels held different meanings in different cultures around the world. Some were probably used in burial rituals, others satirized the person whose features were captured in clay, and still others were made just for fun.
The earliest face vessels known to have been produced by white southern potters were probably not made until the end of the 1800s. White potters working in the Edgefield area in the mid-1800s may have seen similar vessels made by African American potters who were enslaved, and taken the idea with them as they moved out of South Carolina.
The piece on the left was made by Georgia potter Cheever Meaders (1887-1967) who produced a small number of face vessels. Although they were popular, Meaders felt that they were too much trouble to make. Meaders used pieces of broken, glazed plates for the eyes and teeth on this piece.
Location
Currently not on view
date made
1967
maker
Meaders, Cheever
ID Number
CE.274459.02
catalog number
274459.02
accession number
274459

Face Vessel

Between the late 1600s and the Civil War, the rapid growth of the southern plantation economy and a sparse white population led to increasing reliance on the labor of enslaved blacks. Most were agricultural laborers, but a significant number were craftspeople.
Description
Between the late 1600s and the Civil War, the rapid growth of the southern plantation economy and a sparse white population led to increasing reliance on the labor of enslaved blacks. Most were agricultural laborers, but a significant number were craftspeople. Among these skilled enslaved people were a small number of potters working in the Edgefield District of South Carolina. Anecdotal and archeological evidence has been used to establish that enslaved potters were making face vessels in the Edgefield area before the Civil War.
The origins of the southern face vessel tradition are largely un-documented. Some enslaved black potters in South Carolina certainly began making face vessels in the mid 1800s, possibly inspired by African burial rituals or as charms used in religious ceremonies. The contrasting eyes and teeth on most of the slave-made face vessels are kaolin clay, a key ingredient in the manufacture of porcelain. The Edgefield area of South Carolina was known in the 1700s and 1800s for its rich supply of kaolin.
A number of face vessels have been linked stylistically to enslaved potters at Thomas Davies’ Palmetto Firebrick Works, which operated in the mid-1860s, and Lewis Miles’s Stoney Bluff and Miles Mill potteries operating from about 1837-1894. As late as 1900, ceramics historian Edwin A. Barber felt it was necessary to state that face vessels similar to these were not made in Africa, as was supposed by some collectors, but by African American potters who were enslaved at Edgefield potteries.
This piece, on the right, may have been at at Lewis Miles’s pottery and came to the museum in the 1920s after the death of Mary Elizabeth Sinnott, a Washington, DC collector.
Location
Currently on loan
date made
mid 1800s
maker
unknown
ID Number
CE.324313
accession number
68233
catalog number
324313

Face Vessel

The tradition of shaping human likenesses on ceramic vessels is thousands of years old. Face vessels held different meanings in different cultures around the world.
Description
The tradition of shaping human likenesses on ceramic vessels is thousands of years old. Face vessels held different meanings in different cultures around the world. Some were probably used in burial rituals, others satirized the person whose features were captured in clay, and still others were made just for fun.
The earliest face vessels known to have been produced by white southern potters were probably not made until the end of the 1800s. White potters working in the Edgefield area in the mid-1800s may have seen vessels made by African American potters who were enslaved, and taken the idea with them as they moved out of South Carolina.
Like many southern pottery families, the Brown family encompasses a line of potters generations long. The Browns began making pottery in west-central Georgia by the mid-1800s before migrating east to the Atlanta area after the Civil War. The family spread from there to North and South Carolina, Mississippi, Alabama, and Texas. This face vessel, on the right, was made by one of many Brown family potters working in Georgia in the 1960s.
Location
Currently not on view
date made
1960s
Date made
Mid-20th century
maker
Brown Pottery
ID Number
CE.74.22
accession number
313386
catalog number
74.0022

Face Vessel

The tradition of shaping human likenesses on ceramic vessels is thousands of years old. Face vessels held different meanings in different cultures around the world.
Description
The tradition of shaping human likenesses on ceramic vessels is thousands of years old. Face vessels held different meanings in different cultures around the world. Some were probably used in burial rituals, others satirized the person whose features were captured in clay, and still others were made just for fun.
The earliest face vessels known to have been produced by white southern potters were probably not made until the end of the 1800s. White potters working in the Edgefield area in the mid-1800s may have seen the slave-made vessels and taken the idea with them as they moved out of South Carolina.
This jug, on the right, was made by Georgia potter Cheever Meaders (1887-1967) who produced a small number of face vessels. Although they were popular, Meaders felt that they were too much trouble to make. Meaders used pieces of broken, glazed plates for the eyes and teeth on this piece.
Starting in the 1960s, a growing interest in southern face vessels as examples of 20th-century folk art prompted collectors, historians, and cultural institutions to seek out and encourage the potters who produce them. This piece was donated to the Smithsonian by Ralph Rinzler and his wife. Working for the Smithsonian's Office of Folklife Programs, Rinzler was instrumental in the rediscovery and popularization of face vessels.
Location
Currently not on view
date made
ca 1967
maker
Meaders, Cheever
ID Number
1981.0287.7
accession number
1981.0287
catalog number
1981.0287.07

Face Vessel

The tradition of shaping human likenesses on ceramic vessels is thousands of years old. Face vessels held different meanings in different cultures around the world.
Description
The tradition of shaping human likenesses on ceramic vessels is thousands of years old. Face vessels held different meanings in different cultures around the world. Some were probably used in burial rituals, others satirized the person whose features were captured in clay, and still others were made just for fun.
The earliest face vessels known to have been produced by white southern potters were probably not made until the end of the 1800s. White potters working in the Edgefield area in the mid-1800s may have seen the slave-made vessels and taken the idea with them as they moved out of South Carolina.
Like many southern pottery families, the Brown family encompasses a line of potters generations long. The Browns began making pottery in west-central Georgia by the mid-1800s before migrating east to the Atlanta area after the Civil War. The family spread from there to North and South Carolina, Mississippi, Alabama, and Texas.
Starting in the 1960s, a growing interest in southern face vessels as examples of 20th-century folk art prompted collectors, historians, and cultural institutions to seek out and encourage the potters who produce them. This piece, on the left, was made by a member of the Brown family in North Carolina, and donated to the Smithsonian by Ralph Rinzler and his wife. Working for the Smithsonian's Office of Folklife Programs, Rinzler was instrumental in the rediscovery and popularization of face vessels.
Location
Currently not on view
date made
1967-1968
maker
Brown Pottery
ID Number
1981.0287.6
accession number
1981.0287
catalog number
1981.0287.06

Face Vessel

The tradition of shaping human likenesses on ceramic vessels is thousands of years old. Face vessels held different meanings in different cultures around the world.
Description
The tradition of shaping human likenesses on ceramic vessels is thousands of years old. Face vessels held different meanings in different cultures around the world. Some were probably used in burial rituals, others satirized the person whose features were captured in clay, and still others were made just for fun.
The earliest face vessels known to have been produced by white southern potters were probably not made until the end of the 1800s. White potters working in the Edgefield area in the mid-1800s may have seen the slave-made vessels and taken the idea with them as they moved out of South Carolina.
Like many southern pottery families, the Brown family encompasses a line of potters generations long. The Browns began making pottery in west-central Georgia by the mid-1800s before migrating east to the Atlanta area after the Civil War. The family spread from there to North and South Carolina, Mississippi, Alabama, and Texas.
Starting in the 1960s, a growing interest in southern face vessels as examples of 20th-century folk art prompted collectors, historians, and cultural institutions to seek out and encourage the potters who produce them. This piece, in the middle, was made by a member of the Brown family in North Carolina, and donated to the Smithsonian by Ralph Rinzler and his wife. Working for the Smithsonian's Office of Folklife Programs, Rinzler was instrumental in the rediscovery and popularization of face vessels.
Location
Currently not on view
date made
1967-1968
maker
Brown Pottery
ID Number
1981.0287.5
accession number
1981.0287
catalog number
1981.0287.05

Fish Weathervane

Depicting a cod. Fins, gills and tail are made from a corrugated metal. There are two fins on bottom, three fins on top with serrated edges, and two side fins. Eyes, mouth, and gills are scored into metal.
Description (Brief)
Depicting a cod. Fins, gills and tail are made from a corrugated metal. There are two fins on bottom, three fins on top with serrated edges, and two side fins. Eyes, mouth, and gills are scored into metal. There is a support rod through the bottom of the fish.
Location
Currently not on view
Date made
1850-1900
ID Number
CL.65.0902
catalog number
65.902
accession number
256396
collector/donor number
S-80

Carpenter's Pencil

This pencil was grouped with a number of pencils found in the pocket of a tool belt used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world.
Description
This pencil was grouped with a number of pencils found in the pocket of a tool belt used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world. Carpenter pencils have two wide, flat sides to keep them from rolling. The graphite core is generally wide and flat, making it easy to mark course materials when using the flat side while using the thinner side for precision marks.
When Hurricane Katrina struck the Gulf Coast in August 2005, Jillian Gross had worked with Habitat for Humanity for three years learning woodworking and house-building skills. Groups such as Habitat for Humanity marshaled volunteers, tools and lumber to step in when it became clear that normal avenues of housing assistance were overwhelmed.
In November 2005, Habitat for Humanity launched “America Builds on the National Mall,” a demonstration house-building marathon in Washington, D.C. in which the basic components of 51 homes were assembled within a week and shipped to the Gulf Coast. Upon completion of the project Ms. Gross, one of the house building leaders during this event, donated her tool belt, tools and protective wear to the Smithsonian Institution.
Location
Currently not on view
ID Number
2005.0276.27
catalog number
2005.0276.27
accession number
2005.0276

Glazier Knife

The glazier knife has multiple uses: scraping, roller squeegee, spackle spreader, crack or crevice cleaner and can opener. Made by Warner Manufacturing Company, Plymouth, Minnesota, makers of hand and edge tools and light equipment.
Description
The glazier knife has multiple uses: scraping, roller squeegee, spackle spreader, crack or crevice cleaner and can opener. Made by Warner Manufacturing Company, Plymouth, Minnesota, makers of hand and edge tools and light equipment. It was used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world.
When Hurricane Katrina struck the Gulf Coast in August 2005, Jillian Gross had worked with Habitat for Humanity for three years learning woodworking and house-building skills. Groups such as Habitat for Humanity marshaled volunteers, tools and lumber to step in when it became clear that normal avenues of housing assistance were overwhelmed.
In November 2005, Habitat for Humanity launched “America Builds on the National Mall,” a demonstration house-building marathon in Washington, D.C. in which the basic components of 51 homes were assembled within a week and shipped to the Gulf Coast. Upon completion of the project Ms. Gross, one of the house building leaders during this event, donated her tool belt, tools and protective wear to the Smithsonian Institution. The glazier knife was kept in the pocket of a tool belt.
Location
Currently not on view
ID Number
2005.0276.25
catalog number
2005.0276.25
accession number
2005.0276

Retractable Utility Knife

A utility knife is a general purpose cutting tool. This knife has a retractable steel blade and a red painted aluminum holder. It was made in China for the American home improvement store Lowe's Task Force brand.
Description
A utility knife is a general purpose cutting tool. This knife has a retractable steel blade and a red painted aluminum holder. It was made in China for the American home improvement store Lowe's Task Force brand. The manufacturering company that produces their tools can vary from year to year. The knife was used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world.
When Hurricane Katrina struck the Gulf Coast in August 2005, Jillian Gross had worked with Habitat for Humanity for three years learning woodworking and house-building skills. Groups such as Habitat for Humanity marshaled volunteers, tools and lumber to step in when it became clear that normal avenues of housing assistance were overwhelmed.
In November 2005, Habitat for Humanity launched “America Builds on the National Mall,” a demonstration house-building marathon in Washington, D.C. in which the basic components of 51 homes were assembled within a week and shipped to the Gulf Coast. Upon completion of the project Ms. Gross, one of the house building leaders during this event, donated her tool belt, tools and protective wear to the Smithsonian Institution. The notebook was kept in the pocket of a tool belt.
Location
Currently not on view
ID Number
2005.0276.21
catalog number
2005.0276.21
accession number
2005.0276

Ball Point Ink Pen

This pen was used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world.
Description
This pen was used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world. This red transparent plastic pen has a rubber grip, retractable point and pocket clip.
When Hurricane Katrina struck the Gulf Coast in August 2005, Jillian Gross had worked with Habitat for Humanity for three years learning woodworking and house-building skills. Groups such as Habitat for Humanity marshaled volunteers, tools and lumber to step in when it became clear that normal avenues of housing assistance were overwhelmed.
In November 2005, Habitat for Humanity launched “America Builds on the National Mall,” a demonstration house-building marathon in Washington, D.C. in which the basic components of 51 homes were assembled within a week and shipped to the Gulf Coast. Upon completion of the project Ms. Gross, one of the house building leaders during this event, donated her tool belt, tools and protective wear to the Smithsonian Institution. The pen was kept with her notebook.
Location
Currently not on view
ID Number
2005.0276.36
catalog number
2005.0276.36
accession number
2005.0276

Common Nail Hammer

This general purpose or common hammer is used for pounding nails and prying nails or other light material such as molding. The hammer is all one forged steel piece with a blue nylon grip. It has a smooth striking face and straight claw.
Description
This general purpose or common hammer is used for pounding nails and prying nails or other light material such as molding. The hammer is all one forged steel piece with a blue nylon grip. It has a smooth striking face and straight claw. It was used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world.
When Hurricane Katrina struck the Gulf Coast in August 2005, Jillian Gross had worked with Habitat for Humanity for three years learning woodworking and house-building skills. Groups such as Habitat for Humanity marshaled volunteers, tools and lumber to step in when it became clear that normal avenues of housing assistance were overwhelmed.
In November 2005, Habitat for Humanity launched “America Builds on the National Mall,” a demonstration house-building marathon in Washington, D.C. in which the basic components of 51 homes were assembled within a week and trucked off to the Gulf Coast. Upon completion of the project Ms. Gross, one of the house building leaders during this event, donated her tool belt, tools and protective wear to the Smithsonian Institution.
Location
Currently not on view
maker
Estwing
ID Number
2005.0276.10
catalog number
2005.0276.10
accession number
2005.0276

Double End Nail Puller

This nail puller, also referred to as a cat's paw, is designed to pull out nails and for light demolition. The length has a hexagonal shape, each end is curved, tapered and slotted.
Description
This nail puller, also referred to as a cat's paw, is designed to pull out nails and for light demolition. The length has a hexagonal shape, each end is curved, tapered and slotted. It was used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world.
When Hurricane Katrina struck the Gulf Coast in August 2005, Jillian Gross had worked with Habitat for Humanity for three years learning woodworking and house-building skills. Groups such as Habitat for Humanity marshaled volunteers, tools and lumber to step in when it became clear that normal avenues of housing assistance were overwhelmed.
In November 2005, Habitat for Humanity launched “America Builds on the National Mall,” a demonstration house-building marathon in Washington, D.C. in which the basic components of 51 homes were assembled within a week and shipped to the Gulf Coast. Upon completion of the project Ms. Gross, one of the house building leaders during this event, donated her tool belt, tools and protective wear to the Smithsonian Institution.
Location
Currently not on view
ID Number
2005.0276.12
catalog number
2005.0276.12
accession number
2005.0276

Small Pry Bar

This short flat pry bar is for pulling nails and performing light work such as prying paneling or molding. Both ends are curved and slotted.
Description
This short flat pry bar is for pulling nails and performing light work such as prying paneling or molding. Both ends are curved and slotted. It was used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world.
When Hurricane Katrina struck the Gulf Coast in August 2005, Jillian Gross had worked with Habitat for Humanity for three years learning woodworking and house-building skills. Groups such as Habitat for Humanity marshaled volunteers, tools and lumber to step in when it became clear that normal avenues of housing assistance were overwhelmed.
In November 2005, Habitat for Humanity launched “America Builds on the National Mall,” a demonstration house-building marathon in Washington, D.C. in which the basic components of 51 homes were assembled within a week and shipped to the Gulf Coast. Upon completion of the project Ms. Gross, one of the house building leaders during this event, donated her tool belt, tools and protective wear to the Smithsonian Institution.
Location
Currently not on view
ID Number
2005.0276.19
catalog number
2005.0276.19
accession number
2005.0276

S-Clip

This belt clip was distributed in a Swanson speed square package. The clip hooks on to a belt and holds a speed square or other tools.
Description
This belt clip was distributed in a Swanson speed square package. The clip hooks on to a belt and holds a speed square or other tools. It was used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world.
When Hurricane Katrina struck the Gulf Coast in August 2005, Jillian Gross had worked with Habitat for Humanity for three years learning woodworking and house-building skills. Groups such as Habitat for Humanity marshaled volunteers, tools and lumber to step in when it became clear that normal avenues of housing assistance were overwhelmed.
In November 2005, Habitat for Humanity launched “America Builds on the National Mall,” a demonstration house-building marathon in Washington, D.C. in which the basic components of 51 homes were assembled within a week and shipped to the Gulf Coast. Upon completion of the project Ms. Gross, one of the house building leaders during this event, donated her tool belt, tools and protective wear to the Smithsonian Institution.
Location
Currently not on view
ID Number
2005.0276.17
catalog number
2005.0276.17
accession number
2005.0276

Small Pry Bar

This short, flat pry bar is for pulling nails and performing light work such as prying paneling or molding. Both ends are curved and slotted.
Description
This short, flat pry bar is for pulling nails and performing light work such as prying paneling or molding. Both ends are curved and slotted. It was used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world.
When Hurricane Katrina struck the Gulf Coast in August 2005, Jillian Gross had worked with Habitat for Humanity for three years learning woodworking and house-building skills. Groups such as Habitat for Humanity marshaled volunteers, tools and lumber to step in when it became clear that normal avenues of housing assistance were overwhelmed.
In November 2005, Habitat for Humanity launched “America Builds on the National Mall,” a demonstration house-building marathon in Washington, D.C. in which the basic components of 51 homes were assembled within a week and shipped to the Gulf Coast. Upon completion of the project Ms. Gross, one of the house building leaders during this event, donated her tool belt, tools and protective wear to the Smithsonian Institution.
Location
Currently not on view
ID Number
2005.0276.18
catalog number
2005.0276.18
accession number
2005.0276

U.S. Civil War Colored Troops Medal

During the American Civil War, Gen. Benjamin F. Butler so appreciated the heroic actions of African American soldiers under his command at the 1864 battles of Fort Harrison and Fort Gilmer that he commissioned a special medal for them. Designed by Anthony C.
Description
During the American Civil War, Gen. Benjamin F. Butler so appreciated the heroic actions of African American soldiers under his command at the 1864 battles of Fort Harrison and Fort Gilmer that he commissioned a special medal for them. Designed by Anthony C. Paquet and realized in silver by Tiffany, the U.S. Colored Troops medal had no official status. After General Butler was relieved of his command in 1865, the 300 U.S. Colored Troops who had received the medals were forbidden to wear them on their uniforms.
Location
Currently not on view
commissioner
Butler, Benjamin Franklin
maker
Tiffany & Co.
ID Number
1985.0612.01
catalog number
1985.0612.01
accession number
1985.0612

Blanket Chest

Currently not on view
Location
Currently not on view
Date made
ca 1812
ID Number
CL.65.1157
accession number
256396
catalog number
65.1157

Book of Verses

This notebook is dated January 1st, 1810 and contains hand-written Bibles verses, likely to practice spelling and penmanship.
Description
This notebook is dated January 1st, 1810 and contains hand-written Bibles verses, likely to practice spelling and penmanship. The verses include Numbers 6:24-26, 2nd Corinthians 5:20, Jude 1:23, Proverbs 3:17, John 6:37, and Acts 10:34.
The Copp Collection contains about 150 books of early American imprint and shows a wide range of reading matter typical of a New England Puritan family living in a port town. Literacy was expected of many New Englanders, as Puritan doctrine required everyone to read the Bible. The abundance of multiple Bibles, psalms, hymnodies, sermons, and morality tales reflects the Copp’s religious beliefs. Other highlights of the library include the works of Shakespeare, almanacs, historical and political texts, and travel narratives.
The Copp Collection contains a variety of household objects that the Copp family of Connecticut used from around 1700 until the mid-1800s. Part of the Puritan Great Migration from England to Boston, the family eventually made their home in New London County, Connecticut, where their textiles, clothes, utensils, ceramics, books, bibles, and letters provide a vivid picture of daily life. More of the collection from the Division of Home and Community Life can be viewed by searching accession number 28810.
Location
Currently not on view
Associated Date
1810-01-01
ID Number
DL.006791.01.041
catalog number
6791.01.041
accession number
28810

Who Fares Best? The Christian or the Man of the World?

This edition of Colonel Andrew Burn’s Who Fares Best? The Christian or the Man of the World? was published by Bradford & Read of Boston, Massachusetts in 1816. Andrew Burn was serving in the Royal Marines when he penned this dialogue between Horatio and Eugenio in 1789.
Description
This edition of Colonel Andrew Burn’s Who Fares Best? The Christian or the Man of the World? was published by Bradford & Read of Boston, Massachusetts in 1816. Andrew Burn was serving in the Royal Marines when he penned this dialogue between Horatio and Eugenio in 1789. Burn eventually rose to the rank of Major General by his death in 1814. The book was meant to portray the virtues of living a Christian life of piety when compared to a life of fashionable dispensation.
The Copp Collection contains about 150 books of early American imprint and shows a wide range of reading matter typical of a New England Puritan family living in a port town. Literacy was expected of many New Englanders, as Puritan doctrine required everyone to read the Bible. The abundance of multiple Bibles, psalms, hymnodies, sermons, and morality tales reflects the Copp’s religious beliefs. Other highlights of the library include the works of Shakespeare, almanacs, historical and political texts, and travel narratives.
The Copp Collection contains a variety of household objects that the Copp family of Connecticut used from around 1700 until the mid-1800s. Part of the Puritan Great Migration from England to Boston, the family eventually made their home in New London County, Connecticut, where their textiles, clothes, utensils, ceramics, books, bibles, and letters provide a vivid picture of daily life. More of the collection from the Division of Home and Community Life can be viewed by searching accession number 28810.
Location
Currently not on view
ID Number
DL.006867.06
catalog number
6867.06
accession number
28810

A. White Tavern Sign

Currently not on view
Location
Currently not on view
date made
1770
ID Number
CL.65.0979
accession number
256396
catalog number
65.0979

Night Thoughts on Life, Death, and Immortality

Edward Young’s Night Thoughts on Life, Death & Immortality, Volume II was published by Richard Scott of New York in 1816. The work is a poem that is divided into nine sections, one for each night.
Description
Edward Young’s Night Thoughts on Life, Death & Immortality, Volume II was published by Richard Scott of New York in 1816. The work is a poem that is divided into nine sections, one for each night. Each night has its own title: “Life, Death, and Immortality," "Time, Death, Friendship," "Narcissa," "The Christian Triumph," "The Relapse," "The Infidel Reclaimed" (in two parts, "Glories and Riches" and "The Nature, Proof, and Importance of Immortality”), "Virtue's Apology”, and "The Consolation." Scott published the work in two volumes;volume two contained the second part of “The Infidel Reclaimed” onward. The melancholy epic poem in blank verse was well received, but is most well-known because some volumes were illustrated by William Blake.
The Copp Collection contains about 150 books of early American imprint and shows a wide range of reading matter typical of a New England Puritan family living in a port town. Literacy was expected of many New Englanders, as Puritan doctrine required everyone to read the Bible. The abundance of multiple Bibles, psalms, hymnodies, sermons, and morality tales reflects the Copp’s religious beliefs. Other highlights of the library include the works of Shakespeare, almanacs, historical and political texts, and travel narratives.
The Copp Collection contains a variety of household objects that the Copp family of Connecticut used from around 1700 until the mid-1800s. Part of the Puritan Great Migration from England to Boston, the family eventually made their home in New London County, Connecticut, where their textiles, clothes, utensils, ceramics, books, bibles, and letters provide a vivid picture of daily life. More of the collection from the Division of Home and Community Life can be viewed by searching accession number 28810.
Location
Currently not on view
ID Number
DL.006868.039
catalog number
6868.039
accession number
28810

sarcophagus

Currently not on view
Location
Currently not on view
associated person
Jackson, Andrew
purchaser
Elliott, Commodore
previous owner
U.S. Patent and Trademark Office
ID Number
PL.016161
catalog number
16161
accession number
271

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