Part II
If you are a fan of Victorian decor, or if, like me, you find yourself haunting antique malls and shops, you’re probably familiar with the work of sculptor John Rogers. Commonly known as “Groups” for their routine use of more than one subject per sculpture, Rogers’ work is distinctive for many reasons: historical themes, uncommon accuracy and exquisite detail. Rogers was the first American sculptor to be classified as a “pop artist”, scorned by art critics but beloved by the average American. His themes included literary themes, Civil War soldiers, ordinary citizens, animals, sports and luminaries from the pages of history. For Irvingtonians, his works depicting namesake Washington Irving’s Rip Van Winkle are particularly prized.
John Rogers Rip Van Winkle Series.
I have a few in my office and one of my favorite places to eat, the “Back 40 Junction” in Decatur, is decorated with many John Rogers groups throughout their restaurant.
John Rogers was born in Salem, Massachusetts, on October 30, 1829, how can Halloween fans not love him already? His father, an unsuccessful but well-connected Boston merchant, felt that an artist’s life was no better than a vagabond and discouraged his artistic son from pursuing art as a profession. So, Rogers confined his love of drawing, painting and modeling in clay to his spare time. In 1856 Rogers ran away to Mark Twain’s Hannibal, Missouri where he worked as a railroad mechanic. Two years later, he moved to Europe to attain a formal education in sculpting. His first group, in 1859, he titled “The Slave Auction”. It depicts a white auctioneer as he gavels down the sale of a defiant black man, posed arms crossed, with his weeping wife and babies cowering at the side. Rogers, a strong abolitionist, was making a statement against slavery but New York shopkeepers refused to display his work in their windows for fear that the controversial subject matter would drive customers away. So Rogers hired a black salesman to peddle the statue from door-to-door and in a short time, Rogers’ statue, described as “Uncle Tom’s Cabin in plaster” became a best seller.
Sculptor John Rogers.
That same year, Rogers went to Chicago, where he entered his next statue, titled “The Checker Players” in a charity event, which won a $75.00 prize and attracted much attention. Rogers soon began rapidly producing very popular, relatively inexpensive figurines to satiate the average Gilded Age citizen’s thirst for art. Over the next quarter century, a total of 100,000 copies of nearly 90 different Rogers Groups were sold across the United States and abroad. Unsurprisingly, the next few years were filled with Rogers groups depicting scenes from the Civil War to honor their soldier boys serving far from home. These statues would remain popular with veterans after the war as well.
Gettysburg Longstreet monument sculptor Gary Casteel remarked, “Rogers is very well known as an American sculptor. More for his collection of small group settings rather than large public works. Both are excellent in detail and representation. His collection of CW related plaster cast pieces are quite well know and continually sought after by collectors to this day.” Rogers’ work was innovative, preferring to create his statuary based on every day, ordinary scenes from life. While Rogers’ work rarely made its way into art museums, it did grace the parlors, libraries and offices of Victorian homes around the world. However, there is one work that stands out among the rest, for subject matter, realism, and controversy.
“The Council of War”, created in 1868, stands 24 inches tall and, like all of Rogers’ groups, was designed to fit perfectly on a round oak “ball and claw” footed parlor table. It depicts Abraham Lincoln seated in a chair, studying a map held in both hands, as General Ulysses S. Grant and Secretary of War Edwin Stanton confer over his shoulders. The June 1872 issue of the “American Historical Record” describes the scene: “The time is supposed to be early in March, 1864, just after Grant was appointed a Lieutenant-General and entrusted by Congress with the largess and discriminatory power as General-in-Chief of all the armies. The occasion was the Council at which the campaign of 1864 was determined upon, which was followed by Grant’s order on the 1st of May for the advance of the great armies of the Republic against the principal forces of the Confederates.”
Gettysburg Sculptor Gary Casteel.
Both Robert Todd Lincoln and Edwin Stanton proclaimed this version of the President to be the best likeness of the man either had ever seen. Secretary Stanton wrote to the sculptor in May of 1872 stating, “I am highly gratified with the genius and artistic skill you have displayed. I think you were especially fortunate in your execution of the figure of President Lincoln. In form and feature it surpasses any effort to embody the expression of that great man which I have seen. The whole group is very natural and the work, like others from the same hand, well represents interesting incidents of the time.” Although the two surviving subjects received the piece positively, the public allegedly saw it differently: quite literally.
The controversy surrounding the pose arose based upon the positioning of Stanton behind Lincoln. Stanton, is posed polishing his spectacles, held in both hands, directly behind the President’s left ear approximately where Booth’s bullet entered Mr. Lincoln’s head. The pose is thought to have aroused the ire of collectors who believed the awkward positioning somehow stirred memories of the assassination. Hence, John Rogers made three versions of this particular group to appease those sympathies. Although the depictions of Grant and Lincoln remained the same in all three, Stanton’s hands were emptied and placed at his side in the second version and then changed back to polishing his glasses, this time forward of Lincoln’s head, in the third version. Some historians surmise the changes were affected due to the alleged theory of Stanton’s involvement in Lincoln’s murder that were circulating at the time. On the other hand, art historians claim the change was made for purely structural purposes and ease of casting to prevent breakage.
Modern day sculptors like Gary Casteel utilize many of the same methods as Rogers did a century-and-a-half ago, just as Rogers used those techniques he learned about while studying in Europe. Casteel, who like Rogers, also studied sculpture in Europe, says, “Every sculptor has his own way of sculpture production. However, there are probably similarities. I do a lot of detail as he did just simply because it’s my natural style.” The advantage that Gary Casteel has is the internet. Gary has a website and blog (Casteel Sculptures, LLC / Valley Arts Publishing) that walks his “fans” through the process of wood, wire & clay step-by-step. If you have an interest in the process, I highly recommend you subscribe to Gary’s blog. Watching Gary’s scale sculptures of the ornately detailed monuments of Gettysburg might better explain that Rogers’ changes in his Council of War group may not have been all about myth and urban legends after all.
At the height of their popularity, Rogers’ figurines graced the parlors of homes in the United States and around the world. Most sold for $15 apiece (about $450 in 2020 dollars), the figurines were affordable to the middle class. Instead of working in bronze and marble, he sculpted in more affordable plaster, painted the color of putty to hide dust. Rogers was inspired by popular novels, poems and prints as well as the scenes he saw around him. By the 1880s, it seemed that families who did not have a John Rogers Group were not conforming to the times. Even Abraham Lincoln owned a John Rogers Group. My favorite account of a typical Rogers statue encounter comes from the Great American West. Libby Custer mentions in her book “Boots and Saddles” that her husband, General George Armstrong Custer, carried two prized John Rogers groups (“One More Shot” and “Mail Day”, both depicting Civil War soldiers) from post-to-post on the Western frontier including the couples’ final Indian outpost before the “Last Stand.” 
Libby and George Armstrong Custer.
Libby states, “Comparatively modern art was represented by two of the Rogers statuettes that we had carried about with us for years. Transportation for necessary household articles was often so limited it was sometimes a question whether anything that was not absolutely needed for the preservation of life should be taken with us, but our attachment for those little figures and the associations connected with them, made us study out a way always to carry them. At the end of each journey, we unboxed them ourselves, and sifted the sawdust through our fingers carefully, for the figures were invariably dismembered. My husband’s first occupation was to hang the few pictures and mend the statuettes. He glued on the broken portions and moulded (sic) putty in the crevices where the biscuit had crumbled. Sometimes he had to replace a bit that was lost… On one occasion we found the head of the figure entirely severed from the trunk. Nothing daunted, he fell to patching it up again… The distorted throat, made of unwieldy putty, gave the formally erect, soldierly neck a decided appearance of goiter. My laughter discouraged the impromptu artist, who for one moment felt that a “restoration” is not quite equal to the original. He declared that he would put a coat of gray paint overall, so that in a dim corner they might pass for new. I insisted that it should be a very dark corner!”
Another article, this one from the January 1926 issue of “Antiques” magazine, encapsulates the love-hate relationship for Rogers’ work: “The fact that Rogers groups are fragile has made them rare enough to arouse the interest of collectors, although I doubt that they will ever be widely collected or will ever acquire high values. They are too large to be comfortably collected in quantity. Nevertheless there might be some slight activity in Rogers groups among collectors of American antiques and it is to be hoped that existing examples will be preserved for the sake of what they express of life some forty years since.”
In 1878 Rogers opened a small studio at 13 Oenoke Ridge in New Canaan, Connecticut. By the 1890s, his work had largely fallen out of favor. Poor health forced his retirement in 1893. Rogers died at his New Canaan home on July 26, 1904. His studio was designated a U.S. National Historic Landmark in 1965. Rogers sculpted what he saw, drawing his inspiration from the everyday beauty observed by his own eye or that created by his mind’s eye while interpreting the literary works he valued most. Although he died in relative obscurity, his works live on as perfect representations of Victorian Era life at the crossroads of the Gilded Age and the Second Industrial Revolution.
The statues on the field represent Union Generals Meade, Reynolds, Hancock, Howard, Slocum, and Sedgwick, and Confederates, Lee, atop the Virginia Memorial, and James Longstreet. According to the NPS, “Meade and Hancock were the first on June 5, 1896. They were followed by Reynolds, July 1, 1899, Slocum, September 19, 1902, Sedgwick, June 19, 1913, and Howard, November 12, 1932. The Virginia Memorial was dedicated on June 8, 1917. Longstreet did not come along until 1998 and by this time the myth was firmly established.”
But Hancock’s horse at Gettysburg? No one knows. Likewise, General O.O. Howard’s horse remains nameless (he had at least two shot out from under him and himself was wounded twice in battle) but the sternly pious one-armed General’s nickname of “Uh Oh” survives. So named by soldiers because when the General showed up, one way or another, there was gonna be a fight (he was awarded the Medal of Honor for actions at Gettysburg). Look up at his statue the next time you’re walking the field and you’ll see the empty flap of his right arm (shot off at the Battle of Seven Pines a year earlier) pinned neatly to his coat. 
Needless to say, I was pleased with my visit to and pleasantly reminded how invaluable places and people like these are to the preservation and education of history. After the ACHS helped fill in some blanks in my research, I turned my attention to author Bill Frassanito. He is intensely private, yet unassuming and modest in demeanor. Although an author by trade and historian by nature, Mr. Frassanito has the soul of a teacher.
When asked what first drew him to Gettysburg, he explains, “My first trip to Gettysburg was in 1956 when I was nine years old, and I was just awed by all the monuments, cannons and stuff. I started my research when I was a kid and much of the research for Journey in Time was done when I worked it into a Masters thesis (he is a proud Gettysburg College alum). “When you went to Gettysburg College, I was the high school class of ’64, college class of ’68, at that time all the male students had to take either phys ed or ROTC for two years, after that you made the decision whether you continued on to advanced ROTC, then you were a part of the Army and you got paid. From there you are committed to, after graduation, serving for two years as a second lieutenant, then on to grad school.”
Bill’s collecting interests are not solely confined to Gettysburg. “All of my stuff is going to the Adams County Historical Society. It will be called the Frassanito collection. Including all my stuff that goes beyond Gettysburg and Adams County. My interest in military history includes World War I and Franco Prussian war, it’s very expansive.” Mr. Frassanito’s interest in all things military came when he saw the 1956 movie “War and Peace” starring Audrey Hepburn and Henry Fonda and, he states, “from that time on I’ve been fascinated by Russian history including the Crimean War” (October 1853 to February 1856 in which the Russian Empire lost to an alliance of the Ottoman Empire, France, Britain and Sardinia).
Bill continued, “I fortunately survived Vietnam and I put it (his book research) all together when I got out of the Army. I tried to get a job in the museum field but the book took off when I signed with one of the top publishers, Charles Scribner’s. It was later picked up for the Book-of-the-Month club. That became the first of seven books on Civil War photography. I spent eight years and eight months on that project.” One of Bill’s most important discoveries was the “Slaughter Pen” near Devil’s Den. Bill’s book included detailed maps. Bill explains, “The whole purpose of the book was to enable people to re-experience standing where the photographer was. One of the questions I often get is why I don’t update the modern photographs. I’ll never do that as I see them as sort of a time capsule in themselves and I want people to know what the battlefield looked like when I spent five years looking for these spots.”
Frassanito notes that the publication of that photo started a search that is still going on 44 years later. There have been two dozen sites that have been suggested as the site of the photograph. “When people make their discoveries it becomes a religious experience. Every one of those sites has major problems. As far as I’m concerned I don’t want to see a faulty location declared the site and have the search end. That’s the biggest mystery for Civil War photography at Gettysburg. And I’m hoping that one day a pristine 1863 version of the original stereoview or negative surfaces.”
“I lived about 2 miles away in kind of a slum area of Saigon, it was a hotel we rented from the Vietnamese called Horn Hall. On the main floor was a narrow lobby, and there were two shifts requiring a duty officer, you had to spend six hours just sitting there. You had a pistol and if anything happened, you were in charge. One of the shifts was midnight to six. On the 16th of December 1970 I was assigned night duty at MACV headquarters so my name was removed from the night duty at Horne Hall. Later, we got a phone call that a bomb had gone off that night at Horne Hall and the Lieutenant on duty was instantly killed. And I realized that had I been sitting there, all of my discoveries would have gone with me. And these classic photos of the 24th Michigan and 1st Minnesota would still be misidentified.”
In Kenneth Silverman’s 1996 Biography “Houdini!!!: The Career of Ehrich Weiss : American Self-Liberator, Europe’s Eclipsing Sensation, World’s Handcuff King & Prison Breaker”, the author relays how Houdini referred to Lincoln as “my hero of heroes.” Houdini claimed to have read every book about Lincoln by the time he was a teenager. In William Kalush’s 2006 biography “The Secret Life of Houdini: The Making of America’s First Superhero”, there is a story of young Houdini attending a seance where the medium produced a message from our 16th President. Houdini, Lincoln expert that he was, then asked a question to Lincoln via the medium and was puzzled when the answer that came back was not correct. This encounter led to Houdini’s early discovery that most Spiritualists were fake.
As he grew older and more financially secure, Houdini began to amass a personal collection of Lincoln memorabilia, particularly letters and autographs of the Great Emancipator. He also collected handwritten letters of every member of the assassin John Wilkes Booths family, several in response to letters sent by Houdini himself. Spending much of his adult life on the road, in hotels and traveling for days on ships and trains, Houdini became a prolific man of letters. One such letter survives that illustrates his desire and devotion to add to his Lincoln collection, despite the constraints of his vagabond lifestyle.
On Feb. 13, 1924, a day after the 115th anniversary of Abraham Lincoln’s birth, Houdini typed out a letter to Mary Edwards Lincoln Brown, the grand-daughter of Ninian and Elizabeth Edwards, Mary Lincoln’s sister. The letter, written from the dressing room of the State Lake Theatre in Chicago, Illinois, reads: “My dear Mrs. Brown: Enclosed you will find a Spirit Photograph of your renowned ancestor, and although the Theomonistic Society in Washington, D.C. claim that it is a genuine spirit photograph, as I made this one, you have my word for it, that it is only a trick effect. Mrs. Houdini joins me in sending you kindest regards, Sincerely yours, Houdini.”
Furthermore, Houdini also produced ‘fake spirit messages’ from Lincoln during his lectures to debunk spiritualism. Many spiritualists attempted to back up their fake photos and messages by claiming that Abraham Lincoln himself was a devoted spiritualist who had held seances in the White House. As proof, they cited a piece of British sheet music, published while Lincoln was President, which portrayed Honest Abe holding a candle while violins and tambourines flew about his head. The piece of music was called The Dark Séance Polka and the caption below the illustration of the president read “Abraham Lincoln and the Spiritualists”.
Our tour guide explains, “The house had been in the Peter Baker family since 1847.” As a youngster, Dean listened to stories under the old tree that is still there near the house. He continues, “This is where the original guides used to gather under the tree and smoke cigars and drink a little whiskey. The Baker boys were bachelors and always had time to tell stories.” Dean has an encyclopedic knowledge of the battle, but also has personal stories told to him by the legendary figures of this battlefield town. As a youngster, Dean recalls visits by “Pappy Rosensteel who had a huge collection of battlefield relics that he took me to on many occasions.” George D. Rosensteel (1884-1971) had a fantastic lifetime collection of battle relics and displays, including the interpretive Battle of Gettysburg map, acquired by the National Park Service for use in the Gettysburg National Military Park museum and visitor center from 1974-2008. “But they didn’t get it all,” Dean says, “They didn’t get it all.”
We are standing at the base of Wolf Hill near Rock Creek on the far right of the Union Army infantry line; the sounds of traffic whizzing by us on the Baltimore Pike, but it feels like we have traveled back in time. Dean leads us up the slope, we walk about a football field’s length away as he stops in some shady spot, relights his pipe, and explains about cattle grazing in the woods or points out where soldiers were once temporarily buried. This amazing octogenarian halts often, not for his sake but for ours. He climbs these slopes with the agility of a man half his age. He is not winded, but we are.
As we reach the entrance to Lost Avenue, Dean explains with a sweep of his hand, “This was an orchard at the time of the battle, the bodies of many soldiers were buried in rows right over there.” Former resident Cora Baker’s (1890-1977) grandmother told how, after the battle as the bodies were picked up for reburial, “the grass just quivered with lice and bugs where they laid and when the soldiers would roll up their bedrolls in the morning, the grass was alive with lice and bugs from the bodies of the living soldiers as well.”
Upon entering Lost Avenue, Dean explains that General Neill was sent here to guard the rear flank of the Union Army and, most importantly, to protect the Baltimore Pike. Dean states, “When I was a boy I used to visit Lost Avenue with Arthur Baker (1893-1970), who as a lad had walked the fields with the old soldiers that visited the property and actually fought over this ground. Arthur would go and grab a bayonet, left here after the battle, from one of the farm buildings. He’d attach it to his walking stick, hide behind the stone wall and charge out screaming the Rebel Yell.”
Dean maintains the avenue. “The park service never comes out here. Most of the guides have never been out here. The only one I’ve ever seen up here was Barb Adams.” Lost Avenue is the last section of the battlefield that looks exactly as it did when the soldiers fought, and died, here. Dean further explains, “Monuments were set on grass lined strips with no thought of ever paving them. The roads you know now were paved much later. Lost Avenue is the last “pristine section” of unpaved roadway. The 40 foot wide strip is lined by the original stone fence that the 2nd Virginians & 1st North Carolinians fought behind. It was made of field stones picked up by farmers over the years and predates the battle. The second stone wall, the 1895 section, was built later after Sickles took over.”
Alan E. Hunter 