Introduction

 Brady

    Mathew B. Brady is heralded by many as one of the most well known and popular photographers of his time.  His work with the Daguerreotype during its earliest years was noticed by many all over the country, and he was soon hailed as one of the leading pioneers of American Photography.  Immediately Brady began to win medals and recognition for both his photographs and studios, which he established once he noticed the continued interest in his work.  Along with the fame came the fortune, and during the 1840's and 50's, Brady made quite a financially successful living selling and displaying his talents.
    However things weren't always grand for Brady, who throughout his entire life was plagued with a serious eye condition, hindering his eyesight substantially.  But his determination would overcome that obstacle, and with a serious talent for still imaging, Brady managed to work his way to the top of his field aside from his illness.  What many claim to have hindered Brady to the utmost however, was his risking business venture to cover the American Civil War of 1860-65.  At the zenith of Brady's successful career, he risked his wealth, fame, and ultimately health, to photograph the popular war.  His friends and family urged him not to leave his prior ventures, because they had been so successful, but he ignored them, saying that "A spirit in my feet said 'Go', and I went."¹
    Brady would leave, and in doing so he would accomplish more than he possibly ever imagined.  Besides the many lasting memories in which he left to speak for the War, Brady made his mark as one of the leading photographic historians to ever live, and his talents for doing so have lived on in many of his works and pictures.  For all his efforts, Brady is a legend in his field.  The following is a representation of those efforts, a detailed analysis of what, through them, Brady was trying to illustrate about the war, and what how he wanted them to be seen by all historians to follow.  It's how Brady remembered the Civil War.
 
 

Mathew Brady, at McPherson's Woods, Gettysburg. 1863

    Very little is known about Brady's earlier years growing up, aside from his eye condition.  His fame came through his profession, and while many who observed the Civil War sought to write about it in text, Brady does not do this due to his inability to simply write.  So he turned to the camera, allowing the film do the talking for him.  Brady got his start in New York City, where he met another individual who had similar interests in the art of the Daguerreotype, Samuel Morse.  Morse introduced Brady to the new form of still imaging, and right away Brady fell in love with it.  All he needed to make himself an instant success was a camera. With the help of Morse, and other prominent photographers of the time, including John Draper, Edward Anthony, and Alexander Wolcott, Brady worked his way to his first success in 1844, when the first Brady Gallery was opened.  Brady's Daguerrean Miniature Gallery was an instant hit, and many famous and influential people came to view and buy his work due to its rising popularity.² Brady gained his early accolades here, and began to image many famous Americans due to the popularity he was receiving.  Almost everyone who could afford the new process came to one of his studios, and soon Brady was winning achievement honors for his works in the field.
    The demand to be photographed by Brady became so apparent, that in 1850 he published another famous work, entitled the Gallery of Illustrious Americans.  In that gallery, Brady published 12 images of famous Americans including Zachary Taylor, John C. Calhoun, Daniel Webster, John James Audubon, Millard Filmore, Winfield Scott, and John C. Frémont, after commissioning Francis D'Avignon to make from his daguerreotype's a series of new lithographs.³  These images were what further helped along Brady's galleries, as well as his fortunes. His images of famous people were popular to all classes; from the elite's' among him to the lower classes who could hang a picture of their president or senator upon their wall.  They worked well for Brady financially, who benefited from their profits, and it worked well for his subject, who gained significant amounts of popularity by having their images frozen by this new, and innovative science called photography.  Either way, Brady was painting history by imaging history's most famous people.

  DICKENS

Early Daguerrean image, taken by Brady. (1844?)   For larger image, click  picture   James Buchanan, three-quarter length.

    Many of Brady's earliest photographs were of prominent Americans, plus many individuals who may have not held similar positions of respectability, whom ultimately helped to add a certain element of reality within his work.  He would take single image lithographs of ordinary people as well, concentrating on their positioning within the frame, and their motions relative to their function and stature.  For example, images of generals would have hands placed inside their coats, to illustrate their status. (Sherman) With the Illustrious American's, Brady concentrated on capturing the grandeur which was attached to those individuals.  Many of their images are shown in a clear, standing fashion, with the image representing wealth and power in what they are wearing, and facial expressions.  Many of his images, such as that of Tom Thumb and The Hinckley Family represent simple, honest images.⁵  Their quality is undoubtedly less advanced than many of his later images, including the ones of the war, but the art form had been mastered well enough before they had been taken.  (They had been taken in the early to mid-1940's, only five years after the entire process was invented). Brady photographed these images early on to gain experience in the field, as well as to create a portfolio of images and collages to submit to investors who would eventually help him create his galleries and studios.
    With these early images, It is essential to believe that here Brady gained a particular eye for both reality and naturalism, which can be attributed to many of his images depicting the war.  Along with an image of an individual who holds no status, Brady had to include his own vision of how that individual was to be seen.  that is, the art of taking the picture had already been 'perfected.' He was no longer imaging just to image.  Like many others of the era, he had moved into the realm of the visual art form, and how he wanted his pictures to be seen.  This can be accredited to his success as a photographer and his talents in the field.  When the war broke out, he saw the opportunity not to just take pictures of what was going on, but to produce a natural image of reality.  This relates his earlier images to the pictures of the war, and separates them from his advanced collections, like Illustrious Americans.
    After Brady's success abroad, he returned home with a new outlook on the photographic world.  Alexander Gardener, a Scottish born photographer who held similar interests in the art, helped introduce and 'modernize' Brady's collections.  The new wet-plate style of producing images was now taking over the Daguerrean Era, and many of the old picture taking practices were now being left behind in favor of this new and unique process.
    "The wet-plate process was revolutionary in that it could produce a good glass-plate negative from which an unlimited number of paper prints could be made.  the process had been made possible by the discovery of a new compound called collodion.....The plate had to be exposed in the camera and then developed in less than an hour while still wet or damp or else its sensitivity was lost (hence the name wet-plate, which is given to the collodion process)."⁶

    The wet-plate process would prove to be the 'wave of the future,' one that Brady might have fell behind in if it had not been for such companions as Gardener and others.
    1851 was also a good year for Brady outside of his career.  His marriage to Juliette Handy Brady would take place presumably prior to his success at the Crystal Palace, and would last for forty, long years.  Along with that marriage would come one of his most memorable photographs. The image shows Brady, Juliette, and another woman identified as Mrs. Haggerty, presumably Juliette's sister.  This image shows much of what made many of Brady's earliest photographs so popular among his followers; specific lighting, a balanced effect between the the positioning of the three individuals, and the naturalism shown in their faces.⁷  These attributes were placed upon many of his works as well, especially throughout the war.  While many of the era were content with simply making the images appear, Brady was concerned with using the photograph as a form of art, and a way of expressing ones thoughts.  His images were his stories, his thoughts, and ultimately his view on history.

    In the years leading up to the start of the Civil War, Mathew Brady would find himself amidst some unsuspecting difficulties.  Along with the advent of the newer technological advances in the art of photography, such as the wet-plate process, and the Carte-de-Viste, Brady also encountered strong levels of competition due to the newfound popularity in the field.  Small-scale dealers were beginning to sell their own daguerreotypes and pictures at half the price as Brady's own collection, and he was losing both capital and potential buyers.  The collodian wet-plate process was now the new wave of the photographic future, because of its cheap accessibility and superiority over the earlier daguerreotype processes.  For the first time in his career, Brady was finding competition in the field so many believed him to have perfected. But was he in serious trouble?  Roy Meredith, author of The World of Mathew Brady,  says that Brady's fame was actually rising:
    "Returning to America with Alexander Gardener, a Scottish chemist and photographer, Brady introduced the new [wet-plate] process into his galleries, which increased his output enormously.  Before long his galleries would be turning out more than thirty thousand portraits yearly, ranging in price from about $5 to $150.  Brady was by now a comparatively wealthy man; he had become a fad."⁸
    Meredith argues here that many of Brady's imperial prints were helping to bring in the most money, both for their popularity and rarity as well.  People were willing to buy, if the could afford to do so, a framed image of a national leader, or famous American individual, and because of this, Brady survived the sudden interest explosion in the field.  His innate talents behind the camera allowed him to quickly master and conform to the new processes, and along with help from other influential photographers, Brady would make an even larger name for himself  in the very last stages of the pre Civil War era.
    Alexander Gardener was a key instrument in Brady's success after the daguerrean era came to a close.  In 1858, Brady establish another gallery in Washington, DC, and he put Gardener as its manager.  There, the two of them would establish one of Brady's more popular galleries, and perfect the Carte-de-Viste process as well.  This process was the newest and more favorable way of imaging, because it called for the usage of four lenses instead of one, which ultimately produced four images on one sheet of glass.  How did this process benefit Brady?  Well, when the accessibility to use the Carte-de-Viste was found, he was able to produce many copies of one image which helped to spread his popularity. More than one person could own a single image.  This process would be used throughout the war, and into the years following.
    One of Brady's most famous images that utilizes the Carte-de-Viste is that of Edwin Booth and his daughter, Edwina. (image) Booth, whose name was tragically popularized by his infamous brother John Wilkes, was a famous actor of the stage and had earned the reputation as one of the leading actors of the era, winning accolades as

one of the greatest Shakespearean actors of his day.  This image, taken by Brady around 1864, utilizes the Carte-de-Viste process, but more importantly tells the relationship between the estranged actor and his only child, daughter Edwina. A year prior to the taking of this image, Booth's wife dies leaving Edwina behind with only her father to care for her.⁹  Brady images this relationship quite well in this picture, with she leaning into her father, and he showing an expressionless look, but one that shows intelligence and character.  Brady may have been trying to capture the stern qualities of a father, as well as the motherly attributes Edwin might have needed in order to raise his daughter on his own.  She clings to him like a young child to her mother, and he  understandably accepts her.*
    Booth's life after the death of his wife, was, like many of the plays' he starred in, a tragic one.  On April 14, 1865, his older brother would assassinate President Lincoln at Ford's theater, driving him into retirement.  Years later, he would re-enter the theater life at Winter Garden in New York under great distress thanks to many death threats, but that stint would also be short lived when a severe fire brought the curtain down once again on Booth.  Finally, on June 7, 1893, Edwin booth died of a brain ailment.  During his funeral it is said, Ford's Theater collapsed and fell killing twenty people.¹⁰
    Other famous Brady Carte-de-Viste images include Stephen Douglas, Anne Dickinson, Jefferson Davis, and Adele Cutts Douglas.
 

       Brady would become more famous every day as each year passed by.  But it was in 1860, that much of how history sees Brady would change.  The Civil War not only changed Brady's camera angle, but the subject as well.  His reputation as a master photographer would change as well, for he would now and forever more be seen as a master of photographic journalism.  His pictures would no longer show, but now tell.  They would tell us all about the American Civil War, 1860-1865, and they would form the way in which we remember it still today.

    In 1860, The American Civil War became one of the first wars ever documented by the camera.  The stories that were being told of how gruesome the fighting was between the Union and Confederate Armies were now being told not by only by word of mouth, but by the photograph as well.   Much of what America learned, and continues to learn today, about the war, is aided by the many pictures taken of it.   Many of the images that have been left behind for historians to interpret were taken by Mathew Brady, who risked great fortune to document the war.  Many of his closest relatives and friends advised the blinding photographer not to go, but he saw the need to turn his lens to a different subject.  With the help of a traveling unit, which included many photographers and aides such as Gardener and Timothy O'Sullivan, Brady set out to copy onto film what many had been previously only hearing about.  His intention to capture the war on film brought it to the home front very powerfully, and many of the pictures illustrated the horrors, truths and realities of the entire war.
    I think that Brady attempted to capture these realities in many ways.  He remained loyal to individual imaging, yet turned his attentions and subjects to military leaders, and individuals involved within the war.  He photographed many different people, ranging from Confederate General R. E. Lee, to abolitionist Frederick Douglas.  His efforts were entirely concentrated on individuals who were either inspired by or involved with the war.  Brady took pictures of the dead at all battlefields, to illustrate what the killing looked like to those who have not had the displeasure of seeing such a sight.  These pictures hit home the hardest, for both their graphic nature and extreme content.
 
 

James River, Va. Officers of the U.S.S. Monitor grouped by the turret

Fort Pulaski, Ga. The "Beauregard" gun

Portrait of Lt. John Chanite, Maine regiment

Brandy Station, Va. Troopers of Co. D, 3d Pennsylvania Cavalry (2d Division, Cavalry Corps

District of Columbia. Officers and men of Company F, 3d Massachusetts Heavy Artillery, in Fort Stevens

Fort Brady, Va. Three officers of the 1st Connecticut Heavy Artillery

    Brady was a complete photographer.  He didn't let his own emotions enter into his subjects, created a biased image, nor did he concentrate on one aspect of the war over certain others.  That is to say, he felt that capturing every aspect of the war was essential in bringing the real story home.  Books and films surrounding the war show pictures ranging from scenes of death to scenes of beauty.  He captured it all, focusing on telling the entire story, rather than an individual one.
    The three images in the above table illustrate well how Brady kept all these aspects as a part of a higher whole.  The hundreds of pictures we see of ordered battalions and units show more than just a group of men.  Brady would shoot these groups because they embraced the human element.  The pictures of the ranks shows the pride in the men's faces: the lengths they would go for one another.  Brady captures faces extremely well, in these pictures of unit battalions.  There are hundreds of different images of random battalion cavalries, but the one thing they all have in common as can be seen is the stoicism in the faces of each soldier.  Directed by Brady or other photographers, the possibility of each to dictate to each group the same exact details on how to stand and show themselves is almost impossible.  It might be hard to conclude that all these men felt the same passions about war, but it is easy to see the way in which they look at us.  Brady's pictures show this as well, but we get the notion that much of what is seen is seen through Brady's eyes.

    Brady's group portraits show us more than just the group itself.  It's as if he's trying to give us an idea of who these men were, and why they were there.  Their order and discipline in the image tells us that Brady wanted them to look like true American heroes, who fight because they want to defend their beliefs.    How can this be deduced?  The images of Union regiments compared to those of Confederate are not all that different.  In what they are wearing, there is a difference, but in what they are doing there isn't any.  Both groups are fighters.  Both groups are willing to die for their cause, representing an equality in his process.  That is, he took pictures of both sides, and in doing so he showed that the two sides had more in common than might be actually recognized.
    Brady was able to capture the human element as well in many images which showed soldiers outside of a formal setting, either relaxing, eating or other daily activities which might not have been considered important.  To Brady however, they illustrated reality.
 

The above images all depict life outside of the actual battle, but show scenes of the war that we might not necessarily have seen before.  They are simply pictures of the men eating, resting, building a bridge, etc.  These pictures help to give further reference for historians as to what actually took place.  As stated before, they are images of reality.
 
 

    Brady's first taste of the actual battle came on July 21, 1861 at Manassas, Virginia at the First Battle of Bull Run.  There Brady saw the first scenes of the war; the first of the actual fighting; and the first of many deaths.  Many of the images taken of this battle depict mainly the area known as Bull Run, as well as scenes of destroyed houses and churches which fell during the actual fighting. (image)
    The outcome of the battle was a harrowing defeat of the Union Army, and proved to Union Generals that laying claim to the Confederate stronghold Richmond would not be as easy as they previously may have thought, including Brady.  To his surprise, the Union failed to reach Richmond, where he had hoped to photograph to possibly illustrate the sights of an overwhelming Union victory.  Brady says of the experience:
    "I went to the first battle of Bull Run with two wagons. . . We stayed all night at Centreville; we got as far as Blackbourne's Ford; we made pictures and expected to be in Richmond the next day, but it was not so, and so our apparatus was a good deal damaged on the way back to Washington."¹¹
    30,000 Union men were either killed or wounded at Bull Run, and along with the fortunate few who were left to flee for their lives back to Washington D.C. was Brady, who had with him the only recorded photographic account of the battle.  His first of many 'war-scenes' made it back to D.C. and to his studios to tell the story of the battle, and to help cement upon Brady the label 'photojournalist.'  Dorothy Kunhardt, author of Mathew Brady and His World, says this of Brady and his images of Bull Run;
    "Along with the wounded and fleeing, Brady made his dusty way back to the capital, bringing with him enough photographic evidence of the broken bridges and pock-marked forests to astound the people of Washington."¹²
    Humphrey's Journal, one of the few newspapers to ever get close enough to interview Brady, also documented Brady's resourcefulness at Bull Run:
    "The public are indebted to Brady of Broadway, for numerous excellent views of 'grim-visaged war.'  He has been in Virginia with his camera, and many spirited are the pictures he has taken.  His are the only reliable records of the fight at Bull Run."¹³

Brady, Photographed at Bull Run.  Many of the images we see of him, particularly ones found at Battlefield sights, have his back or side facing to the camera.  Rarely was he imaged facing forwards.

Brady Gallery 352 Penna Ave & Wash. Mr. Pres-          Dear sir- I have repeated calls every hour in the day for your photograph and would regard it as a great favour if you could give me a sitting to day so that I may be able to exhibit a large picture on the 4th.  If you cannot, call today.   Please call at your earliest convenience Yours Truly,              M. B. Brady

    There have been many pictures taken of Abraham Lincoln, and in most of them we see one recurring feature in the linear motion of his lips.  He's neither smiling, nor is he frowning.  He shows us a picture of a true leader, one who literally has the weight of a nation upon his shoulders, and the state of the union depends upon his every move.  He is seen as the most admirable of men, almost mythical when we relate him to his achievements.  Brady captures Lincoln very well, at a variety of times, each time he seems to look eerily the same.  Even in images taken after the war.  On February 23rd, 1861, Lincoln came to Brady's studio on Pennsylvania Avenue to have his inauguration portrait taken.  George Story, an artist who shared residence in the same building as Brady who often helped him with 'great' individuals, was asked by Brady to come help him with the imaging of Lincoln.  His words regarding Lincoln after the event relate a great deal to what we can see in most of the photos taken of Lincoln:
    "He did not utter a word, and he seemed absolutely indifferent to all that was going on about him; and he gave the impression that he was a man overwhelmed with anxiety, fatigue and care."¹⁶
 
 

   Lincoln has been hailed as one of the greatest Presidents of this nation's history, and in many of the pictures we see of him, it's hard not to detect a sense of leadership in both his look and posture.  They relate to the way he handled this country during the war in that we can assume that the same type of temperament he shows in a still image is the same type of way he handled policies.  Brady and Gardener capture him well, and it's hard to say that they were in competition to produce the 'better' image of Lincoln because of the distinct similarities in all of the shots taken.  Even in a 'casual' setting, if there was such a thing for the President, he shows the same types of emotions.  These images were taken by Gardener, but they help to show the many similarities in all Lincoln snapshots.  He is forever motionless in these images, and this is a quality which we can see in the Lincoln Monument today.  Photographers must be credited with giving Lincoln this type of recognition, as well as with immortalizing him through the images they took of him, almost frozen in time.  Brady's portraits helped make Lincoln President.
 
 

The Dead

"The pictures most heart rendering to make yet technically the easiest were those of the dead; for such battlefield coverage, motion was not a factor. "
-Dorothy Kunhardt-

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    Following the Union defeat at Bull Run, Brady ventured down to a small river source in Maryland called Antietam Creek.  There Brady would witness one of the deadliest battles of the Civil War, as well as one of the worst battles to ever take place on American soil.  Here many Americans, both of Union and confederate blood would meet there demise.  Brady and his men took many images at Antietam, and they were so widely acclaimed that he opened up an exhibit in one of his New York Studios entitles "The Dead of Antietam."¹⁷  Here he displayed his many  photos of the war, and gave to his viewers their first taste of what images of the deceased actually looked like.  In a way, it was like a 'photographic culture shock' for the public, because they showed mixed reviews once the exhibit went on display.
The images of the dead further beat the reality of the war into the minds of the people, and it showed what was happening to the men who left home to fight for their country. Brady's exhibits and the pictures were a painful reminder of what was happening on the battlefields.
    Capturing war in images is mostly about combat.  And how we view those images of combat, the images of the dead, is how we interpret it.  It's also how the photographer interprets it.
    "Combat, no matter how peripheral, how Pyrrhic, how purposeless, is the heart of war.  It is what young boys glamorize, old men remember, poets celebrate, governments rally around, women cry about, and soldiers die in.  It is also what photographers take pictures of."¹⁸
    Pictures of the dead, no matter how chilling, or vivid in content, tell of the grim realities that war brings.  Brady, when capturing the dead on the battlefields, not only captured this reality, but historically left a foundation for all historians to base their research and studies on how powerful of a war the Civil War was.  His images of the dead were so personal, so frighteningly real, that he actually scared many people, and after the war was over, hardly anyone wanted to ever look at a Brady war image again, because it reminded them of what had happened to their sons, brothers, neighbors, etc.

Cold Harbor

Click for larger image.

  During days between the fighting, officials would agree on truce days, so the dead could be buried.  Photographers used these days to roam the battlefields and image the scenes of the dead while not being under constant fire.  They would take pictures of the relatively 'new' dead, and what a tribute it is to their abilities to take images of what must have been possibly the most gruesome images that they had ever witnessed.
 
 

    The result of Brady's dead, and the weight that they carried with the American people would eventually carry Brady to his demise.  The pictures of Antietam and Little Round Top were very graphic, and after Appomattox no one wanted to see them anymore.  The American public no longer wanted to be reminded of the war that split the nation in half, and no longer did they want to see images of the young dead sprawled across battlefields, lifeless and innocent.  The images proved that, and no matter how powerful they are today in alluding to the real Civil War, they were rejected by those who once demanded them from Brady and others when the war started.  What started out as a 'photographic fad' became a national nightmare, and no one wanted to be reminded of the war.
"Let him who wishes to know what the war is look at this series of illustrations.  These wrecks of manhood thrown together in careless heaps or ranged in ghastly rows for burial were but alive yesterday.... Many people would not look through this series.  Many, having seen it and dreamed of its horrors, would lock it up in some secret drawer."²⁶
    Since no one wished to be reminded of the war after its close, Brady's galleries began to fail.  With no one to buy his prints, he began to accumulate a large debt.  He also had to pay the men he had hired to help him image the war, as well as to pay the companies whom he purchased his equipment from prior to leaving, most of which was on credit.  He was out of money.  The war and its images had hit home in a way that was too much for the public, and after its close Brady received no help from them or the government, who was busy now with an assassination and reconstruction.  Brady's collection was soon forgotten, and so too was he, the man who had captured a war.
    His later years in life are quite tragic, for he fell into a deep state of despair when he was forced to sell his negatives to help pay off debts, and in 1887 when his wife Julia passed.  He would live for almost another decade, poor and blind, with no real friends or family to help him through his post-war conditions.   He died on April 15th, alone, broke and blind  in the alms ward of New York Presbyterian Hospital, just fifteen days prior to an exhibit in his honor at Carnegie Hall, which would display his many war images and plate negatives.²⁶
    In an ironic end, the event which had made Brady famous as a war historian, had driven him into the depths of bankruptcy and destitution.  Many argue that the war had made him, and that it had also killed him as well.  I would agree with half of this assertion, because its Brady's talents behind the camera which made him, the war was simply a contribution to his abilities.  He was 'made' well before a shot was ever fired.  His talents in still imaging were captured in the earlier years leading up to the war, and his reputation as a master photographer was well established before the one of 'photojournalist'.  Yet the war was his fame.  It's where his efforts will be remembered, it's where we will think of Brady as achieving greatness.  Maybe that's what war does.   Its impact is stronger than its theme, and what we remember can be related to what we are seeing.  If that's the case, then much of what we are 'seeing' of the Civil War should be attributed to Brady, and the way he helps us remember it.

(*Note- All Interpretations of images are presumed and collaborated by said author, PLW III)
(*Note- Images either borrowed from Library of Congress, Online version of Brady's Miniature Gallery, or in works from authors cited below.)

1.   Hobart, George. Masters of Photography: Mathew Brady. (London: Macdonald & Co.) 1984.
2.   ibid., 2
3.   http://www.npg.si.edu/exh/brady/art/artdoc.htm
4.   Hobart, 2.
5.   Library of Congress URL: www.loc.gov
6.   Hobart, 6.
7.   http://www.npg.si.edu/exh/brady/dag/dagbr2.htm
8.   Meredith, Roy. The World of Mathew Brady. (Los Angeles: Brooke House.) 1976. p. 5-6
9.   http://www.npg.si.edu/exh/brady/carte/booths.htm
10. Meredith, 41.
11. Hobart, 5.
12. Dorothy Kunhardt, Mathew Brady and His World.  (Time-Life: Canada.) 1977. p. 200.
13. ibid. 60.
14. Hobart, 6.
15. Kunhardt, 58.
16. Meredith, 83.
17. Ken Burns. The Civil War 1994.
18. Moeller, Susan. Shooting War. (New York: Basic Books.) 1989.
19. ibid., 24.
20. Kunhardt, 248.
21. Moeller, Susan. Excerpt from The New York Times Can be found on Civil War Documentary, film 3.
22. Moeller, 25.
23. Kunhardt, 248.
24. http://rs6.loc.gov/cgi-bin/query/D?cwar:5:./temp/~ammem_HLp1::
25. Kunhardt, 225.
26. Excerpt taken from Oliver Wendell Holmes, after searching through the the dead of Antietam for his son.  Hobart, 7.
26. Hobart, 8.