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Pancho Villa’s Raid and the Sombrero Left Behind

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One of the latest artifacts to make its way into the History Museum’s conservation lab: a very well-worn sombrero plucked off the battlefield in Columbus, NM, after Pancho Villa’s raid. Conservation intern Cindy Lee Scott began working on the piece this week, and her efforts show just how different conservation work is from restoration work.

Proof No. 1: If the hat really was part of an infamous battle, then Scott will only clean off the last few years’ worth of dirt.

“If it had been sitting on a battlefield, then that dirt would be part of its history,” she said. “In that case, I will do a minimal cleaning–whatever a low-suction vacuum cleaner can pick up.”

The sombrero was donated to the museum in 2008 by the grandson of a Columbus woman who found it after the raid on her town. It’s relatively simple, with decorations on only the brim and the hatband, and it’s definitely seen better days, with a few holes showing on its brim and near the top. Through her investigation, Scott has already determined that some of what we believed about it isn’t true. For one, it isn’t made of woven straw, but of many tiny braids of straw sewn together. And it might not even be straw, but we’ll have to see whether our equipment can detect a difference between hay, yucca fibers, or some other material. In addition, what appeared to be a leather brim and hatband is in fact a painted woven fabric with leather curlicues stitched onto it.

According to a history of Columbus posted on New Mexico State University’s website, Villa’s raid came suddenly the night of March 9, 1916, as the Mexican Revolution raged to the south. Columbus was “a sleepy little border town,” and about 350 U.S. Army soldiers from the 13th Cavalry were stationed on its outskirts. Despite that seeming defense, Gen. Francisco “Pancho” Villa and up to 600 Mexican revolutionaries stormed into town.

“The Villistas concerned themselves more with raiding than killing, otherwise the town might have been erased. …  Alerted by the gunfire and burning buildings, many Columbus residents fled to the desert, or sought refuge in the school house, the Hoover Hotel, or private homes. The noise and fire sealed the fate of the raiding Mexican Army. U.S. Army officers and soldiers, awakened by the commotion, set up a Benet-Mercier machine gun in front of the Hoover Hotel and produced a murderous rain of bullets. Another machine gun set up on East Boundary Street fired north and caught anyone in the intersection of Broadway and East Boundary in a deadly crossfire.”

The fighting lasted from about 4:20 am to dawn, just 90 minutes. In that time, up to 75 Villistas and 18 Americans, most of them civilians, were killed.

The History Museum has a section about the raid in our main exhibit, Telling New Mexico: Stories from Then and Now. Included in it is the clock that was stopped by a bullet and a death mask of Villa, who was stopped by a hail of bullets fired by a band of assassins in 1923.

While it would be nice to say that Villa once wore the sombrero, we won’t. We can’t prove it. Besides that, it doesn’t say “Hecho in Mexico” or bear any other label that might lead us to a hatmaker or a town of origin. But it could date back as far as 1900, and Scott’s work might put a more definitive date on it.

(That’s Scott at left, examining the ornament on the hat’s chinstrap in hopes of determining what kind of threads were used to make it. One possibility: Horse hair.)

Another proof that this is conservation not restoration work is that the hat’s damaged parts likely won’t be repaired. Instead, as any wise conservator will do, the damage will merely be stabilized so it doesn’t get any worse.

And as for this writer’s wise-guy suggestion that the conservators pull some DNA from the sweat that likely once soaked the hatband and throw it into some kind of microfabricated polymeric nanochannel RTPCR mumbo-jumbo device in order to identify its owner, Scott was firm and clear.

“This isn’t TV,” she said. “It doesn’t work like that.”

 

O, Fair New Mexico’s Hard Road to Statehood

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As New Mexico was hoping, wishing and praying for statehood, 60 years’ worth of forces aligned against it.

The New York Times took the position that the outlaw frontier of New Mexico represented “the heart of our worst civilization.” Former Vice President and pro-slavery Sen. John C. Calhoun said in 1848 that “to incorporate Mexico would be the very first instance of incorporating an Indian race. … Ours, sir, is the government of a white race. The greatest misfortunes of Spanish America are … of placing these colored races on an equality with the white race.” Others considered the state too poor. Or too Catholic. Or too likely to side with northeastern senators than southern senators.

At today’s Centennial Brainpower & Brownbags Lunch Lecture, New Mexico State University History Professor Jon Hunner led a full house of visitors through the hurdles and toward that fateful day, 100 years ago, when President Taft signed the territory into statehood. Along the way, he acquainted the audience with the unsavory characters of the Santa Fe Ring, “an equal-opportunity corrupter” consisting of lawyers, politicians, merchants and railroad men. “Of course,” he added, “corrupt organizations during the Gilded Age were nothing new.”

There was also the tale of New Mexico Sen. Stephen B. Elkins ill-timed handshake of a colleague who had just, unbeknownst to Elkins, given a fiery anti-slavery speech, thereby costing the New Mexico statehood bill every Southern senator’s vote.

He also brought up an old wound: the surveyor mistake that gave a good (and oily) chunk of rightful and proper New Mexico land to the state of Texas–a still simmering matter that we wrote about in this blog post in 2009.

One of his best points is one well worth remembering in this Centennial year: “What New Mexico was in 1912, the United States has become over the past 100 years. We sent the first Hispanic senators to Congress, the first Hispanic representatives. We elected the nation’s first Hispanic governor.” The territory’s melting pot today mirrors a nation that once was ruled by Anglo men of means.

These monthly lectures, organized by Tomas Jaehn of the museum’s Fray Angelico Chavez History Library, are well worth putting on your calendar. (Next up: “Understanding William Howard Taft,” by Noel Pugach, professor emeritus of history at the University of New Mexico, April 18 at noon.) They’re free. The speakers are smart and interesting. And you walk away from a mere hour with enough knowledge to impress your friends, family and coworkers. Who knows, you might even get to sing.

At the end of today’s lecture, Hunner cajoled the crowd into joining him in a decidedly monotonic version of the official state song, “O, Fair New Mexico.” Next time, we’ll do a little warm-up first.

 

Letters, We Get (New Mexico Centennial) Letters

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When we launched the Centennial Letter Writing Project on Jan. 6, 2012 (the 100th anniversary of New Mexico statehood), some of us at the New Mexico History Museum wondered aloud whether we’d eke out even 200 letters over the next 12 months. Well, it’s early March, and we’re about to zoom past that total. The stack at left? That’s just today’s haul.

Students in the Upward Bound college-prep program in Roswell have written by the dozens. So did a class at St. Michael’s High School, members of a creative-writing group in Taos, and individuals of all ages in Albuquerque, Santa Fe and elsewhere.

(We sure could use some voices from western and southern New Mexico — hint, hint.)

Our request was simple enough (though it seemed a bit of a burden to the Twitter generation): Tell us about your life in the year 2012 so that historians in the year 2112 might have some first-person accounts told by rank-and-file residents. We want to hear what your neighborhoods are like, your houses, your career, what you worry about and what gives you hope. Think about what someone 100 years from now might want to know about you. The type of car you drive, its color, what it can and can’t do. The stores you shop at and what you buy there. Do you visit a farmer’s market? Describe the vendors and their produce. Tell us how you make your family’s favorite holiday food and where you get the ingredients. Do you work out? Where? Do you ride bikes or go hiking? Describe the route.

Over the next few months, we’ll post excerpts from some of those letters here on the blog. We hope you enjoy reading them as much as we have. And we hope that you, too, will put pen to paper (or fingers to keyboard; computer printouts are A-OK) and tell us about your life.

Where, pray tell, might you send your missives? Here:

(Isn’t that handwriting about the prettiest thing you’ve seen all week?)

Onto some samples from a few of our friends in Albuquerque. (We’ll only use first names and leave out writer’s addresses.)

Evelyn wrote:

“In this centennial year for New Mexico, I am 80 years old. I live in the Northeast Heights in a house purchased in 1958 for $10,500. It was built in 1954 … one block from Morris St. There were no buildings at that time from east of Morris St. to the mountains…just a dirt road named Juan Tabo. My house has 3 bedrooms, one bathroom and a one-car garage. Every home then had clotheslines and I still use mine. …As a single mother of four children, I taught sewing classes as my own business in fabric stores for 30 years. Most women work outside the home today so sewing is more of a hobby than a necessity. However, young people are becoming more interested in sewing because of a TV program called Project Runway. Sewing classes have been phased out in schools. …”

Joanne wrote:

“I am a native New Mexican, born in 1940 on North Fourth Street in Albuquerque. My father came to NM in 1907 from Kansas as a homesteader in Edgewood when he was 18 years old. His father and eight brothers each received 160 acres but later most of them lost their land because of drought and moved to Albuquerque. My mother came in 1912 when she was 12 years old because her father had TB. I was a teacher at Grant Jr. High and Manzano High School. …

“In 2010 I decided to remodel my house, the original part of which was built in 1947. it was cold in winter, hot in summer, a typical uninsulated, flat-roofed house. I decided to insulate it by wrapping the entire house with straw bales. With the stucco on the outside it looks like an adobe house. I also wanted to see the mountains so I added a second floor bedroom and bath with a deck. I remodeled the house to make the garage into an art studio and added a solar green house on the south side of the house. I added solar panels that produce more energy than I use, giving me great satisfaction, especially when I get a refund every month from the electric company. It makes me so happy to know that I am producing energy for someone else to use as well without polluting our beautiful earth. I am trying to have a garden for produce, fruit trees, flowers and foliage without using too much water so I installed rain-water collection tanks. I think of my house as a demonstration of what one can do with an old house to make it really energy efficient. …”

Suzanne, a 71-year-old Albuquerquean, included details of a friend’s upcoming surgery that, in 100 years, may seem like a commonplace procedure. Not today:

“Dear friend Emily … announced she will have deep brain surgery Mon. Jan. 9 to harness and correct hand tremors she’s suffered for several years. This is not experimental but cutting edge. She will be in intensive care two nights, then rehab after having a tiny computer implanted in her chest to maybe take the place of the part of her brain that is malfunctioning. She is frightened and excited. I think she is so brave but she needs to reclaim her life so she can paint and sew and make jewelry again.”

We’ll close out today (don’t worry, we’ll share plenty more in the weeks ahead) with Olivia, a fourth-grader from Hubert Humphrey Elementary School, whose optimism just may be catching:

“N.M makes me feel special because everyone is different and no one is mean or disappointed because this is the Land of Enchantment. Special things can happen, and that’s why I love New Mexico. What I worry about is people doing dangerous stuff. What gives me hope is seeing people happy and people encouraging me.”

Good News: “The Saint John’s Bible” Earns an Extended Engagement

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As the monks of Saint John’s Abbey might themselves say: Hallelujah!

The popularity of Illuminating the Word: The Saint John’s Bible, combined with the delighted approval of the exhibition’s design from the monks of Saint John’s University, has led to an extension of the show’s run. Previously set to close on April 7, The Saint John’s Bible will now be on exhibit in the History Museum’s Herzstein Gallery until December 30, 2012.

“The installation of the folios in the New Mexico History Museum presents The Saint John’s Bible in one of the most beautiful and faith-filled exhibitions of this Bible done to date,” said Tim Ternes, director of The Saint John’s Bible. “The contemplative environment artfully shares the story, work and process of this monumental project in a setting that compels the guest to slow down, relax and reflect.

“Saint John’s is very pleased to be able to extend this exhibition in the Santa Fe area, a place where art, faith and culture have been harmoniously blended for centuries.”

Commissioned by the monks of Saint John’s Abbey and University in Collegeville, Minn., The Saint John’s Bible represents a remarkable achievement in the book arts. In 2000, Donald Jackson, senior scribe to Queen Elizabeth, and a crew of artists and calligraphers began the first of the Bible’s 1,150 vellum pages—from Genesis to Revelation. Last May, the project achieved completion when Jackson wrote the word “Amen” on the final page of the Book of Revelation. All of the pages will eventually be bound into seven volumes for use and exhibition at Saint John’s Abbey, but in the meantime, 44 pages from two of its Old Testament volumes–Prophets and Wisdom Books–are on exhibit at the New Mexico History Museum.

More than 26,600 people have come to the museum to see the Bible and take part in the activities and lectures that accompany it.

“Faith is part of the history of New Mexico, one that you can see in ancient petroglyphs, mission churches, Jewish temples, the Sikh community and more,” said Dr. Frances Levine, director of the History Museum. “Besides being part of the state’s history, faith is part of the history of the book, and this exhibit takes the book back to its medieval origins, when the Bible was `the first book.’ In Saint John’s, that first book meets modern technology, contemporary artists, and interpretations that blend modern-day events with centuries-old scripture.”

Tom Leech directs the Palace Press, a working exhibit that celebrates the book arts. He helped bring this contemporary masterpiece to Santa Fe to help visitors experience how profoundly beautiful and moving an illuminated manuscript can be.

“The Saint John’s Bible is installed in a way that gives people a quiet, secular space to unplug and de-stress. The work speaks to us in many different ways,” Leech said. “We’ve even included a sort of meditation space in the center of the gallery where visitors can let what they’ve seen sink in.”

Also on exhibit in the gallery is Contemplative Landscape, featuring the work of photographers both past and present who have interpreted the ways that people of many faiths have found a home in New Mexico. (Find out more about Contemplative Landscape by clicking here.)

Accompanying the exhibits are lectures, performances and hands-on calligraphy workshops. We’ll be adding a few events with the extended run of The Saint John’s Bible, including talks by Tim Ternes. As soon as details are firmed up, we’ll let you know. All events are free and in the History Museum Auditorium, unless otherwise noted. The remaining schedule:

Saturday, February 25, 10 am-4 pm, NMHM Classroom: “Oh My Gouache,” calligraphy workshop by Diane von Arx, special treatment artist for The Saint John’s Bible. This event is sold out.

Sunday, February 26, 2 pm: “Special Treatment Illuminations for The Saint John’s Bible,” lecture by Diane von Arx.

Sunday, March 11, 2 pm: Schola Cantorum of Santa Fe and the monks of Christ in the Desert Monastery perform in the History Museum Lobby.

Sunday, March 25, 2 pm: “Endangered Texts: Preserving Ancient Books the Benedictine Way in the 21st Century,” lecture by Father Columba Stewart, executive director of the Hill Museum and Manuscript Library at St. John’s University in Minnesota.

Sunday, April 29, 2 pm: Contemplative Landscape photographers panel discussion; Kirk Gittings, Ed Ranney, Janet Russek, Sharon Stewart and Don Usner.

Friday, June 1, 6 pm: “Fragile Faith,” lecture by Contemplative Landscape photographer David Robin.

Friday, June 8, 6 pm: “Landscape and Memory,” lecture by artist and calligrapher Laurie Doctor.

Saturday and Sunday, June 9 & 10, 10 am-4 pm, NMHM Classroom: “Landscape and Lettering: Before the Separation of Drawing and Writing,” calligraphy workshop with Laurie Doctor. Cost is $200. Limited seating; call (505) 476-5096 to register.

Friday, July 13, 6 pm: “Poetry & Photographs,” discussion and poetry reading with Contemplative Landscape photographer Teresa Neptune and poet Miriam Sagan.

Sunday, October 14, 2 pm: “Ritualized Naming of the Landscape through Photography,” lecture by John Carter, photography curator at the Nebraska State Historical Society.

Sunday, November 4, 2 pm: Red as a Lotus: Letters to a Dead Trappist, poetry reading by Lisa Gill; and Compassion Rising, a film about Thomas Merton and the Dalai Lama.

Sunday, December 2, 2 pm: Sacred choral music by Schola Cantorum of Santa Fe and the monks of Christ in the Desert Monastery.

The 2012 Statehood History Conference

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Outlaws, Rough Riders, classic restaurants and a possible spy will come to life at the 2012 New Mexico Statehood History Conference, May 3-5, in Santa Fe. Presented by the Historical Society of New Mexico and the New Mexico History Museum/Palace of the Governors, this Centennial version of the Society’s annual conference includes a special treat: A daylong free symposium, open to the public, plus free admission to the History Museum on May 3.

The conference, May 4 and 5 at the Santa Fe Convention and Visitors Center, is held in collaboration with the New Mexico Heritage Preservation Alliance, which is having its annual conference at La Posada that weekend. Details, including special hotel rates and how to register for all or part of the Statehood History Conference, are at the Historical Society’s web site.

“Whether you’re interested in the Centennial or New Mexico history in general, we’re gathering writers and historians you’ll enjoy meeting and whose research is sure to enlighten you,” said Mike Stevenson, president of the Historical Society. “Holding this year’s event in the capital city, where lawmakers worked so hard to move the Territory toward statehood, means we’ll be surrounded by history indoors at the sessions and outdoors strolling the streets of Santa Fe.”

The symposium’s keynote address, “New Mexico Statehood, An Earlier Perception,” will be given by Dr. Robert W. Larson, author of the authoritative and classic New Mexico‘s Quest for Statehood, 1846-1912.  Other speakers include Dr. David Van Holtby, “New Mexico’s Rough Road to Statehood,” Robert Torrez, “Law and Order and the Quest for New Mexico Statehood,” and Henrietta Martinez Christmas, “New Mexico’s Icons.”  Dr. Richard Melzer will introduce and moderate the symposium. (Seating in the museum’s auditorium is limited; first-come first-served.)

The statehood theme continues May 4 and 5 at the Society’s conference, with topics ranging from traditional foods in Native American communities, land-grant studies, Western characters like Kit Carson and Wyatt Earp, and controversial New Mexico politicos such as Thomas Benton Catron, Bronson Cutting, and New Mexico’s first Territorial Governor (and possible U.S. spy) James S. Calhoun. The conference’s 24 sessions and nearly 70 presentations include:

  • “Juan Dominguez de Mendoza: Soldier and Frontiersman of 17th-Century New Mexico,” by historians Marc Simmons and José Antonio Esquibel.
  • “The Changing Character of New Mexico Statehood as Reflected by the Santa Fe Fiesta Celebration,” by Andrew Lovato, assistant professor of speech communications at Santa Fe Community College.
  • “Butch Cassidy in New Mexico: His Winning Ways, Dancing Feet, and Postmortem Return,” by free-lance writer Nancy Coggeshall.
  • “U.S. Army Nurses at Fort Bayard,” by Cecilia Jensen Bell, a researcher with the Fort Bayard Historical Preservation Society.
  • “La Matanza: Conserving Identity through Food in Los Lunas,” by Daniel Valverde, an anthropology student at New Mexico State University.

“The research that these scholars have accomplished is truly impressive,” said Dr. Frances Levine, director of the New Mexico History Museum. “Visitors can start their weekend history immersion by seeing the maps, paintings, photographs and artifacts that we use in our main exhibit, Telling New Mexico: Stories from Then and Now. If you’re not already a fan of history, the symposium and conference will make you one.”

Founded in 1859, the Historical Society of New Mexico is the oldest historical society in the West. Its collections were incorporated into the original Museum of New Mexico, created in 1909 in the Palace of the Governors, and today represent an important part of the New Mexico History Museum’s holdings. The society’s photographs, documents and books, collected from 1885 on, became the core of the museum’s Fray Angélico Chávez History Library and the Photo Archives at the Palace of the Governors. The Society began its annual conferences in 1974, and also publishes award-winning papers and news of history around the state in La Crónica de Nuevo México.

Society members who register for the conference by April 23 will get a specially discounted rate of $95, which includes the Thursday evening opening reception at the History Museum, lunch on Friday, and the Statehood Centennial Banquet on Friday evening at the Convention Center (a total value of $125).  The closing Cinco de Mayo reception at the Governor’s Mansion will feature the annual Historical Society of New Mexico Awards presentations.

The conference includes a silent auction as well as a book auction. Items will include artwork, jewelry, historical maps, rare books, and statehood memorabilia. If you’d like to donate an item, e-mail Mike Stevenson at mgsalp@newmexico.com.

Gotta Dance

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The museum’s Collections Committee had its monthly meeting this morning and, among other businesses, accepted a piece of 1927 ephemera from Gov. Richard C. Dillon’s Inaugural Ball.  It’s a neat little six-page affair, about 3 1/2 x 5 1/2 inches, with an honest-to-goodness sign-yourself-up dance card in the middle.

(Whoever the previous owner was, he wasn’t exactly Fred Astaire. Only four of 24 dances were taken, two One Steps, one Two Step and one Foxtrot. Left undanced were, among others, the Varsoviana, the Valencia, the Spanish Waltz and the Charleston.)

Nancy M. Tucker, an Albuquerque resident, provided the inaugural program to us via her regular wanderings about the offerings on the Internet. We have a number of “angels” like Nancy out there, some of the bona fide pickers, some of them folks who just have an interest in history and particularly New Mexico history.

Dillon’s Inaugural Ball was held at the Palace of the Governors and the National Guard Armory, a building that used to be north of the Palace and is now occupied by the New Mexico History Museum. According to the program, some of the luminaries involved in the organization of the event were Gov. Arthur T. Hannett, Arthur Seligman, Miguel A. Otero Jr., Nathan Jaffa, and Archbishop A. T. Daeger. Decorations festooned the Palace and Armory, along with the Capitol (today’s Bataan Building), and the Museum of Fine Art. Norman L. King served as the parade’s grand marshall.

To anyone familiar with New Mexico history, the plethora of names listed among the other committeepeople who helped with the inaugural reads like a who’s who of 1920s Santa Fe and New Mexico. Among them: John Meem, Oscar Huber, Mrs. Ashley Pond, Mrs. N.B. Laughlin, Mr. and Mrs. Henry Dendahl, and Mr. and Mrs. John N. Zook.

Dillon, a Republican, was the eighth post-statehood governor of New Mexico. According to the National Governors Association, he “was born in St. Louis, Missouri, on June 24, 1877. His early education was attained in the common schools of his native state. He later attended the public schools in Springer, New Mexico, where his family moved in 1889. Before entering politics, Dillon worked as a railroad laborer and a merchant.

“In 1924, he won election to the New Mexico State Senate, a position he held two years. Dillon next secured the Republican gubernatorial nomination, and was elected governor by popular vote on November 2, 1926. He was reelected to a second term in 1928.

“During his tenure, the Carlsbad Caverns were declared a national monument by the federal government; and the state government was managed in an efficient, business-like method. After leaving the governorship, Dillon retired from political life. He stayed active in his business career, and eventually established the R.C. Dillon Company. Governor Richard C. Dillon passed away on January 5, 1966, and was buried in Encino, New Mexico.”

I am an american!

The Golden Rule is my rule!

In humility and with gratitude

I acknowledge my undying debt

To the founding fathers

Who left me a pricess heritage … (it goes on for another 24 lines and four exclamation marks.)

Among the other artifacts the Museum is fortunate to have in its collections from Gov. Dillon’s time are an oil-painted portrait, a suitcase, and a 1929 yellow-and-red NM license plate with a big number 1 on it, below the word “Governor.”

The museum is grateful to the many people who keep us in mind when they come upon items that help us tell the story of who we were and who we are. If you think you might have something of interest, give us a call and let’s have a chat.

Frederick Douglass Learns to Write – A Palace Press Commemoration

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Imagine a world where Frederick Douglass had not learned to write.

Would the Emancipation Proclamation have been issued in 1863 or might it have withered and waited without the stirring speeches Douglass wrote, published and delivered, advocating against the slavery into which he was born?

Historians and what-if theorists can argue that for days, but the rest of us can be satisfied in knowing that, thanks to Douglass’ writing skills, we have a stirring, first-person account of what life was like in an America that regarded black people as property.  

Narrative of the Life of Frederick Douglass was first published in 1845, seven years after its author escaped from slavery. It remains a classic autobiography, unflinchingly recounting the terrors that Douglass experienced as a slave, the brutalities of his owners, and his narrow escape to the North. (An escape that was endangered by the book’s publication; once his former owner knew where to find him, he went to court – unsuccessfully – to get his “property” back.)

Just in time for Black History Month comes a new broadside from the Palace Press at the New Mexico History Museum. And though we’re mentioning its tie to that month, the excerpt featured from Narrative of the Life of Frederick Douglass serves us in a timeless way, reminding us of how difficult it can be for anyone to learn how to fit words together and how crucial it is to master that learning curve in order to make compelling points. In this case, points that changed the course of history.

The excerpt reads:

… The idea as to how I might learn to write was suggested to me by being in Durgin and Bailey’s ship-yard, and frequently seeing the ship carpenters, after hewing, and getting a piece of timber ready for use, write on the timber the name of that part of the ship for which it was intended. When a piece of timber was intended for the larboard side, it would be marked thus–“L.” When a piece was for the starboard side, it would be marked thus–“S.” A piece for the larboard side forward, would be marked thus–“L. F.” When a piece was for starboard side forward, it would be marked thus–“S. F.” For larboard aft, it would be marked thus–“L. A.” For starboard aft, it would be marked thus–“S. A.” I soon learned the names of these letters, and for what they were intended when placed upon a piece of timber in the ship-yard. I immediately commenced copying them, and in a short time was able to make the four letters named. After that, when I met with any boy who I knew could write, I would tell him I could write as well as he. The next word would be, “I don’t believe you. Let me see you try it.” I would then make the letters which I had been so fortunate as to learn, and ask him to beat that. In this way I got a good many lessons in writing, which it is quite possible I should never have gotten in any other way. During this time, my copy-book was the board fence, brick wall, and pavement; my pen and ink was a lump of chalk. With these, I learned mainly how to write. …

“Narrative of the Life of Frederick Douglass is on my list of the most important books,” said Tom Leech, director of the Palace Press. “I just think for us to understand American history and the American psyche, we need to read that book.”

In 1988, Leech first printed the broadside on his own press in Colorado, where he was then living. He gave his 12-year-old son a linoleum block and asked him to write letters in reverse to be carved for the border. (By the way, that 12-year-old, Benjamin Leech, is now an advocate for historic preservation in Philadelphia.)

Copies of the 12½” x 19” broadside (printed on heavy, recycled, acid-free paper) can be purchased for $25. Come by the Palace Press, open 10 am to 5 pm, Tuesday through Sunday, or call Leech at 505-476-5096.

That’s not the only memory of Frederick Douglass available at the Palace Press.

In 2010, the Palace Press exhibited in the museum’s front window a lithographic press (one with an extraordinarily fabled background story), along with a printing stone that held a portrait of Douglass, loaned to us by Landfall Press, Santa Fe’s fine art lithographers. Their printers pulled 10 copies from the stone, and now just a few of those prints are still available and can be purchased for $100.

The prints provide an image of Douglass that’s fitting to gaze upon while considering these other words, ones that haunt the history of our “land of the free,” created by a writer who began with a piece of pavement and a lump of chalk:

… I often found myself regretting my own existence, and wishing myself dead; and but for the hope of being free, I have no doubt but that I should have killed myself, or done something for which I should have been killed. While in this state of mind, I was eager to hear any one speak of slavery. I was a ready listener. Every little while, I could hear something about the abolitionists. It was some time before I found what the word meant. …

 

Knitting Club Warms Hands and Hearts at Homeless Shelter

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As clubs go, it’s a small one, but its work has made a big difference in the lives of people dealing with Santa Fe’s winter up close.

Formed this fall by Department of Cultural Affairs staffers who simply enjoy knitting for themselves and their families, the members of the DCA Knitting Club had two aims: to share a dose of the social graces with one another while knitting, and to direct their efforts to people in need.

On Feb. 1, as weather reports warned of a coming cold snap, the first result of their bounty was delivered to St. Elizabeth’s Shelter — a pile of beautiful and colorful scarves, caps and mittens.

The knitters were: Susie Hart (pictured at left),  from the Historic Preservation Division; Kimberly Mann, formerly of the Van of Enchantment; Jamie Brytowski, of the Van of Enchantment; Diane Bird, from the Museum of Indian Arts & Culture; and Frances Levine, from the New Mexico History Museum. (Bird and Levine are pictured below.)

Levine and Hart said the original intent was to gather regularly and knit together, but busy schedules made that impossible. Still, they built friendships through e-mails, phone calls and shared knitting patterns. Among those patterns were ones that Mann’s grandmother had used to knit for soldiers during World War II.

“What we took over to the shelter represents the power of our collective energy,” Levine said. “This was something bigger than what any of us could do on our own and it made difference to the residents and clients. It showed us we can still be a force for change, a force for good. It was also good for each of us to see that side of one another, that compassionate side.”

The group hasn’t decided what project to take up next, but does plan to keep knitting for others. If you’re interested in joining, give one of the members a call. Everyone’s welcome, from beginners to experts, men, women and children.

 

 

Do Something Radical for New Mexico’s Centennial: Write a Letter

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By Dr. Frances Levine, Director, New Mexico History Museum/Palace of the Governors

This morning, January 6, the New Mexico History Museum/Palace of the Governors will host a First-Day-of-Issue event on behalf of the U.S. Postal Service and its New Mexico Centennial stamp. That we’re kicking off a year of Centennial activities at the History Museum with a stamp-related event delights my historian sensibilities by inviting New Mexico’s citizens to take part in a letter-writing project.

To tell the stories of our past, historians gather information from many sources. They use photographs, documents, and artifacts, like the 47-star flag now on display downstairs in the New Mexico History Museum. But what they treasure more than anything are journals and letters – written accounts of what was happening just as it was happening and told by participants in the events.

As we prepared to mark the Centennial in our exhibitions with an installation called 47 Stars, we discovered that the historians who preceded us had left out some of the accounts we would have loved to use. That got us wondering about what we’re leaving for the people who will one day mark New Mexico’s 200th year as a state.

These days, hand-written accounts of our lives are in short supply. We all rely on e-mails to communicate, but I bet few of us print them out and save them in a box under the bed. Many of us mark the mileposts of our lives with short Facebook updates that go – where? Who knows?

Some historians say all this electronic communication will provide a bounty of material for future historians. Others say something will be sorely missing, that holding a letter written by a person who participated in the historic events as they happened and reading the thoughts they considered important enough to put on paper is truly what makes people connect across generations and throughout history.

Lew Wallace finished writing the novel Ben Hur while he was a Territorial governor in New Mexico, and he left this account of what it was like to work on the book inside the Palace of the Governor’s thick adobe walls.

My custom when night came was to lock the doors and bolt the windows of the office proper, and with a student’s lamp, bury myself in the four soundless walls of the forbidding annex. Once there, at my rough pine table, the Count of Monte Cristo in his dungeon of stone was not more lost to the world.

The ghosts, if they were ever about, did not disturb me; yet in the hush of that gloomy harborage, I beheld the Crucifixion, and strove to write what I beheld.

I can feel the surface of his rough pine table. I can imagine the chill of a supposed ghost when a viga creaked or loose page fell to the floor. Those are special details to historians and help us bring the past to life.

Each of us has a gift to leave for tomorrow’s historians: A written account of our lives today. So all of us at the New Mexico History Museum have a radical proposal: Write us a letter. That’s it. Just a letter. Tell us a bit about what your life in the year 2012 is like.

Update: The letter need not be hand-written if you’d rather print it out.

Describe your house, your neighborhood, the businesses you like to visit and why. What games do you play? Where do you go to enjoy the outdoors and what does it look like today? What kind of job do you have and what’s the status of that industry? What do you worry about? What gives you hope? What is it about New Mexico that makes it your home place and heart place?

Fold it up, put it in an envelope, address it, and then mail it – maybe using one of those beautiful Centennial stamps. We’ll collect them and share them throughout the year but, most important, we’ll put them into a safe place to spend a few decades gaining perspective. When 2112 rolls around, New Mexico’s historians will delight in the treasure trove you helped create.

Send your letters to: Centennial Letter Writing Project, New Mexico History Museum, 113 Lincoln Ave., Santa Fe, NM, 87501.

 

Centennial Stamp Pays Homage to New Mexico Volcanoes

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On Friday morning, January 6, the New Mexico History Museum will teem with stamp geeks (a term we use with sincere fondness and respect) as the US Postal Service holds its First-Day-of-Issue ceremony for the 44-cent “forever” Centennial stamp. Honoring New Mexico’s 100th year as a state, the stamp features Sanctuary, a painting by artist Doug West that shows off a prototypical New Mexico landscape. Or at least it’s prototypical if you’re a volcanologist, which, it turns out, Larry Crumpler is.

And not just any volcanologist. Crumpler is the research curator for volcanology and space science at one of our sister institutions, the New Mexico Museum of Natural History and Science in Albuquerque. He was also part of the NASA team that developed and oversaw the Mars Exploration Rover and, in return, had a feature on that planet named after him: Larry’s Lookout (take a virtual ride toward it here).

Despite those stellar creds, Crumpler insists that he had no part in helping the Postal Service choose two of what he considers “the more scenic volcanic necks” in New Mexico — or in the world.

Some of the news stories have said the painting features Cabezon, that flat-topped volcanic plug you see between Bernalillo and Cuba, NM. In fact, Cabezon is hidden behind them. The painting features Cerro de Santa Clara (the one on the left) and Cerro Guadalupe (the one on the right). “Both are the shallow interiors of relatively young volcanoes of the Mount Taylor volcanic field exposed by the back-wasting erosion of the Rio Puerco,” Crumpler said. “The Rio Puerco volcanic necks of New Mexico are among the best exposures of the interiors of small volcanoes in the world.

“I was kind of surprised to see it on the stamp and happy to see it because I’ve been trying to get a copy of that Doug West serigraph for a number of years now, because that’s one of my favorite areas of New Mexico. It’s a part of New Mexico that’s very distinctive. You won’t see it anywhere else on the whole stinking planet.”

Aerial view of Cerro de Santa Clara, by Larry Crumpler.

At one time, say, 2 million years ago, the cones were part of the Mount Taylor volcanic field, where numerous small volcanoes burbled and burped around the towering mountain. The Rio Puerco eventually cut through the field and helped erode all the soft material surrounding the lava ponds inside the volcanoes, leaving the little bumps we see today.

“If you dig underneath it, none of that rock would be down there, except for a little crack where the lava came through,” Crumpler said. “It’s like a miniature mesa.”

Cerro de Guadalupe at sunset, by Larry Crumpler.

In his chapter for Telling New Mexico: A New History, the book produced for the opening of the New Mexico History Museum in 2009, Crumpler calls New Mexico “a giant museum of volcanoes.”

“Many Western states certainly have volcanoes, and some really spectacular and grandiose ones, too,” he writes. “But … the volcanoes here are refined, world-class examples of many different volcanic landforms, many of which are either not as well-preserved or not as abundant elsewhere.”

Today, if you walk up to the edge of Cerro de Santa Clara, you’ll see the actual crack that the lava came out of, surrounded by the ash and tuff it left behind. You’ve already seen plenty of volcanic tuff if you’ve been to Bandelier National Monument — though it’s a different remnant of a far more violent volcano. When the Valles Caldera exploded about 1 million years ago, it emitted a blanket of ash, much like a certain Icelandic volcano far more recently did. By the time it settled into a geologic formation, the Valles Caldera ash cloud had mixed with enough other substances to create a surface that after a few more millennia of erosion was deemed perfect living quarters for ancestors of today’s northern New Mexico pueblos.

Should the postage stamp whet your appetite for learning more about New Mexico volcanoes, Crumpler has three getting-started suggestions:

Aerial view of Capulin Volcano, by Larry Crumpler.

1. Drive to the top of Capulin Peak, an old volcano between Clayton and Raton.

2. See lava flows that he considers better than Hawaii’s at El Malpais National Monument.

3. Visit Bandelier.

And if you’re hoping to see a volcano come to life while you’re there, prepare to wait.

“There are no active volcanoes in New Mexico right now, but the conditions exist to make a new one,” Crumpler writes in Telling New Mexico. “Molten rock, or magma, is even now spreading out like pancake batter between deep rock layers about 12 miles below the surface in an area between Belen and Socorro. … The Socorro magma body may erupt someday — or maybe not. It is too early to tell.”

At 7 pm on Thursday, March 29, Crumpler will speak on “Icons of New Mexico: Volcanoes and the New Mexico Centennial Stamp” at the Natural History Museum, 1800 Mountain Road N.W. in Albuquerque. Tickets cost $6 ($5 members, $4 students). Ensure you get a seat by logging onto www.NMnaturalhistory.org or purchase tickets at the door before the talk.