{"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bcreators%5D%5B%5D=George+Mason+University.+Libraries.+Special+Collections+Research+Center\u0026f%5Bdate_range%5D%5B%5D=1870","last":"https://arvasarchive.org/catalog.json?f%5Bcreators%5D%5B%5D=George+Mason+University.+Libraries.+Special+Collections+Research+Center\u0026f%5Bdate_range%5D%5B%5D=1870\u0026page=1"},"meta":{"pages":{"current_page":1,"next_page":null,"prev_page":null,"total_pages":1,"limit_value":10,"offset_value":0,"total_count":3,"first_page?":true,"last_page?":true}},"data":[{"id":"vifgm_repositories_2_resources_425","type":"collection","attributes":{"title":"19th century newspaper illustrations collection, 1861/1894","creator":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_425#creator","type":"document_value","attributes":{"value":"George Mason University. Libraries. 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EAD markup completed by Jordan Patty in 2016. Finding aid updated by Amanda Menjivar in November 2024.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Jessica Lynn in 2016. EAD markup completed by Jordan Patty in 2016. Finding aid updated by Amanda Menjivar in November 2024."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds other newspaper collections and collections focused on the Civil War.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds other newspaper collections and collections focused on the Civil War."],"scopecontent_html_tesm":["\u003cp\u003eThe collection consists of lithographs that appeared in \u003citalic\u003ePuck\u003c/italic\u003e, \u003citalic\u003eHarper's Weekly\u003c/italic\u003e, and \u003citalic\u003eIllustrated London News\u003c/italic\u003e. 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EAD markup completed by Jordan Patty in 2016. Finding aid updated by Amanda Menjivar in November 2024.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Jessica Lynn in 2016. EAD markup completed by Jordan Patty in 2016. Finding aid updated by Amanda Menjivar in November 2024."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds other newspaper collections and collections focused on the Civil War.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections Research Center also holds other newspaper collections and collections focused on the Civil War."],"scopecontent_html_tesm":["\u003cp\u003eThe collection consists of lithographs that appeared in \u003citalic\u003ePuck\u003c/italic\u003e, \u003citalic\u003eHarper's Weekly\u003c/italic\u003e, and \u003citalic\u003eIllustrated London News\u003c/italic\u003e. 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The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_7bd0e860ed6dec630da7153e16a554cb\" label=\"Abstract\"\u003eThe collection consists of lithographs that appeared in \u003citalic\u003ePuck\u003c/italic\u003e, \u003citalic\u003eHarper's Weekly\u003c/italic\u003e, and \u003citalic\u003eIllustrated London News\u003c/italic\u003e.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection consists of lithographs that appeared in Puck, Harper's Weekly, and Illustrated London News."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_3d7c873ff7bddb30103175eac7d77818\"\u003eOS R 2, C 1, S 2. Housed with C0286.\u003c/physloc\u003e\n    "],"physloc_tesim":["OS R 2, C 1, S 2. Housed with C0286."],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"names_ssim":["George Mason University. Libraries. 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Special Collections Research Center","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_542#abstract_or_scope","type":"document_value","attributes":{"value":"Seven pen and watercolor paintings on paper of character and chorus member costume designs for the opera \"Aida,\" circa early 1870s.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_542#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_542","ead_ssi":"vifgm_repositories_2_resources_542","_root_":"vifgm_repositories_2_resources_542","_nest_parent_":"vifgm_repositories_2_resources_542","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_542.xml","title_ssm":["\"Aida\" opera costume paintings"],"title_tesim":["\"Aida\" opera costume paintings"],"unitdate_ssm":["circa early 1870s"],"unitdate_other_ssim":["circa early 1870s"],"normalized_date_ssm":["1870"],"normalized_title_ssm":["\"Aida\" opera costume paintings, 1870"],"text":["\"Aida\" opera costume paintings, 1870","C0473","/repositories/2/resources/542","Art","Costume design","Opera","There are no access restrictions.","This is a single folder collection.","Groenert, Kaeli, \"Blackface at the Met: An exploration of the casting of performers of color in the roles of Aida and Othello from 2007-2017\" (2019). Music. 1. https://scholarsarchive.library.albany.edu/honorscollege_music/1.","Holmes, Helen. \"The Met Casts Anna Netrebko as 'Aida' Despite Her Past Controversy in the Role,\" February 13, 2020. Observer. https://observer.com/2020/02/anna-netrebko-aida-met-opera-casting-2020-2021-season-details/.","\"Synopsis: Aida.\" The Metropolitan Opera. Accessed March 15, 2021. https://www.metopera.org/user-information/synopses-archive/aida.","\"Aida\" is a four-act opera by Giuseppe Verde that premiered in 1871. Set in the Old Kingdom of Egypt and sung in Italian, it tells the story of an enslaved Ethiopian princess, the titular Aida, who is brought to the Egyptian court. Unbeknownst to the court, the Egyptian military commander Radames is in love with Aida, who also returns his love. Throughout the opera the couple struggles to assert their love, while also honoring their respective countries and dealing with the war that ensues between Egypt and Ethiopia. \"Aida\" was immensely popular when it premiered and is still considered one of the most beloved operas today.","\"Aida\" has a performance history of brown and blackface, with white singers often performing characters of another race. This occurred as recently as early 2020, though there has been more effort in the opera world to cast racially appropriate singers in these roles, particularly that of Aida.","Processing completed by Amanda Brent in March 2021. EAD markup completed by Amanda Brent in March 2021. This item was formerly part of the Performing Arts Manuscript Materials collection, C0215.","The Special Collections Research Center also holds the  and the , as well as other materials related to opera, costume design, and the performing arts.","Seven pen and watercolor paintings on paper of character and chorus member costume designs for the opera \"Aida,\" made circa early 1870s. Featured are Radames in Act I, Scene 1 and Act II, Scene 4; Ax-bearers from Act II, Scene 4; Officers of the chorus, Act I, Scene 1 and Act II, Scene 4; Amneris in Act II, Scene 4; and The King, Act II, Scene 4 and Act I, Scene 1. Notably absent are the roles of Aida, Amonasro, and Ramfis. Each painting has the name of the role written in pen on the lower left corner and the act and scene numbers on the bottom right corner. The main roles have the voice range written next to the role name. All text is written in French.","No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)","Seven pen and watercolor paintings on paper of character and chorus member costume designs for the opera \"Aida,\" circa early 1870s.","R 72, C 3, S 5","George Mason University. Libraries. Special Collections Research Center","Verdi, Giuseppe, 1813-1901. (Title of work: Aïda.)","French"],"collection_title_tesim":["\"Aida\" opera costume paintings, 1870"],"collection_ssim":["\"Aida\" opera costume paintings, 1870"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0473","/repositories/2/resources/542"],"unitid_tesim":["C0473","/repositories/2/resources/542"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["George Mason University. Libraries. 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(See https://rightsstatements.org/page/NKC/1.0/?language=en)"],"acqinfo_ssim":["Purchased by Steve Gerber from J \u0026 J Lubrano Music Antiquarians in September 2016."],"access_subjects_ssim":["Art","Costume design","Opera"],"access_subjects_ssm":["Art","Costume design","Opera"],"has_online_content_ssim":["false"],"extent_ssm":[".01 Linear Feet 7 paintings"],"extent_tesim":[".01 Linear Feet 7 paintings"],"date_range_isim":[1870],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis is a single folder collection.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This is a single folder collection."],"bibliography_html_tesm":["\u003cp\u003eGroenert, Kaeli, \"Blackface at the Met: An exploration of the casting of performers of color in the roles of Aida and Othello from 2007-2017\" (2019). Music. 1. https://scholarsarchive.library.albany.edu/honorscollege_music/1.\u003c/p\u003e","\u003cp\u003eHolmes, Helen. \"The Met Casts Anna Netrebko as 'Aida' Despite Her Past Controversy in the Role,\" February 13, 2020. Observer. https://observer.com/2020/02/anna-netrebko-aida-met-opera-casting-2020-2021-season-details/.\u003c/p\u003e","\u003cp\u003e\"Synopsis: Aida.\" The Metropolitan Opera. Accessed March 15, 2021. https://www.metopera.org/user-information/synopses-archive/aida.\u003c/p\u003e  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Groenert, Kaeli, \"Blackface at the Met: An exploration of the casting of performers of color in the roles of Aida and Othello from 2007-2017\" (2019). Music. 1. https://scholarsarchive.library.albany.edu/honorscollege_music/1.","Holmes, Helen. \"The Met Casts Anna Netrebko as 'Aida' Despite Her Past Controversy in the Role,\" February 13, 2020. Observer. https://observer.com/2020/02/anna-netrebko-aida-met-opera-casting-2020-2021-season-details/.","\"Synopsis: Aida.\" The Metropolitan Opera. Accessed March 15, 2021. https://www.metopera.org/user-information/synopses-archive/aida."],"bioghist_html_tesm":["\u003cp\u003e\"Aida\" is a four-act opera by Giuseppe Verde that premiered in 1871. Set in the Old Kingdom of Egypt and sung in Italian, it tells the story of an enslaved Ethiopian princess, the titular Aida, who is brought to the Egyptian court. Unbeknownst to the court, the Egyptian military commander Radames is in love with Aida, who also returns his love. Throughout the opera the couple struggles to assert their love, while also honoring their respective countries and dealing with the war that ensues between Egypt and Ethiopia. \"Aida\" was immensely popular when it premiered and is still considered one of the most beloved operas today. \u003c/p\u003e","\u003cp\u003e\"Aida\" has a performance history of brown and blackface, with white singers often performing characters of another race. This occurred as recently as early 2020, though there has been more effort in the opera world to cast racially appropriate singers in these roles, particularly that of Aida.\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["\"Aida\" is a four-act opera by Giuseppe Verde that premiered in 1871. Set in the Old Kingdom of Egypt and sung in Italian, it tells the story of an enslaved Ethiopian princess, the titular Aida, who is brought to the Egyptian court. Unbeknownst to the court, the Egyptian military commander Radames is in love with Aida, who also returns his love. Throughout the opera the couple struggles to assert their love, while also honoring their respective countries and dealing with the war that ensues between Egypt and Ethiopia. \"Aida\" was immensely popular when it premiered and is still considered one of the most beloved operas today.","\"Aida\" has a performance history of brown and blackface, with white singers often performing characters of another race. This occurred as recently as early 2020, though there has been more effort in the opera world to cast racially appropriate singers in these roles, particularly that of Aida."],"prefercite_html_tesm":["\u003cp\u003e\"Aida\" opera costume paintings, C0473, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["\"Aida\" opera costume paintings, C0473, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Amanda Brent in March 2021. EAD markup completed by Amanda Brent in March 2021. This item was formerly part of the Performing Arts Manuscript Materials collection, C0215.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Amanda Brent in March 2021. EAD markup completed by Amanda Brent in March 2021. This item was formerly part of the Performing Arts Manuscript Materials collection, C0215."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr show=\"new\" title=\"Single 'Aida' opera costume painting (C0474)\" href=\"https://aspace.gmu.edu/repositories/2/resources/543\"\u003e\u003c/extptr\u003e and the \u003cextptr show=\"new\" title=\"'Cavalleria rusticana' opera costume paintings\" href=\"https://aspace.gmu.edu/repositories/2/resources/541\"\u003e\u003c/extptr\u003e, as well as other materials related to opera, costume design, and the performing arts.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the  and the , as well as other materials related to opera, costume design, and the performing arts."],"scopecontent_html_tesm":["\u003cp\u003eSeven pen and watercolor paintings on paper of character and chorus member costume designs for the opera \"Aida,\" made circa early 1870s. Featured are Radames in Act I, Scene 1 and Act II, Scene 4; Ax-bearers from Act II, Scene 4; Officers of the chorus, Act I, Scene 1 and Act II, Scene 4; Amneris in Act II, Scene 4; and The King, Act II, Scene 4 and Act I, Scene 1. Notably absent are the roles of Aida, Amonasro, and Ramfis. Each painting has the name of the role written in pen on the lower left corner and the act and scene numbers on the bottom right corner. The main roles have the voice range written next to the role name. All text is written in French.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Seven pen and watercolor paintings on paper of character and chorus member costume designs for the opera \"Aida,\" made circa early 1870s. Featured are Radames in Act I, Scene 1 and Act II, Scene 4; Ax-bearers from Act II, Scene 4; Officers of the chorus, Act I, Scene 1 and Act II, Scene 4; Amneris in Act II, Scene 4; and The King, Act II, Scene 4 and Act I, Scene 1. Notably absent are the roles of Aida, Amonasro, and Ramfis. Each painting has the name of the role written in pen on the lower left corner and the act and scene numbers on the bottom right corner. The main roles have the voice range written next to the role name. All text is written in French."],"userestrict_html_tesm":["\u003cp\u003eNo known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_9576737c0c53a822d5c41ce4fcab5344\" label=\"Abstract\"\u003eSeven pen and watercolor paintings on paper of character and chorus member costume designs for the opera \"Aida,\" circa early 1870s.\u003c/abstract\u003e\n    "],"abstract_tesim":["Seven pen and watercolor paintings on paper of character and chorus member costume designs for the opera \"Aida,\" circa early 1870s."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_1e79eb9724213e0fffe9962712ab3fa7\"\u003eR 72, C 3, S 5\u003c/physloc\u003e\n    "],"physloc_tesim":["R 72, C 3, S 5"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"persname_ssim":["Verdi, Giuseppe, 1813-1901. (Title of work: Aïda.)"],"names_coll_ssim":["Verdi, Giuseppe, 1813-1901. (Title of work: Aïda.)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Verdi, Giuseppe, 1813-1901. (Title of work: Aïda.)"],"language_ssim":["French"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:35:01.774Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_542","ead_ssi":"vifgm_repositories_2_resources_542","_root_":"vifgm_repositories_2_resources_542","_nest_parent_":"vifgm_repositories_2_resources_542","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_542.xml","title_ssm":["\"Aida\" opera costume paintings"],"title_tesim":["\"Aida\" opera costume paintings"],"unitdate_ssm":["circa early 1870s"],"unitdate_other_ssim":["circa early 1870s"],"normalized_date_ssm":["1870"],"normalized_title_ssm":["\"Aida\" opera costume paintings, 1870"],"text":["\"Aida\" opera costume paintings, 1870","C0473","/repositories/2/resources/542","Art","Costume design","Opera","There are no access restrictions.","This is a single folder collection.","Groenert, Kaeli, \"Blackface at the Met: An exploration of the casting of performers of color in the roles of Aida and Othello from 2007-2017\" (2019). Music. 1. https://scholarsarchive.library.albany.edu/honorscollege_music/1.","Holmes, Helen. \"The Met Casts Anna Netrebko as 'Aida' Despite Her Past Controversy in the Role,\" February 13, 2020. Observer. https://observer.com/2020/02/anna-netrebko-aida-met-opera-casting-2020-2021-season-details/.","\"Synopsis: Aida.\" The Metropolitan Opera. Accessed March 15, 2021. https://www.metopera.org/user-information/synopses-archive/aida.","\"Aida\" is a four-act opera by Giuseppe Verde that premiered in 1871. Set in the Old Kingdom of Egypt and sung in Italian, it tells the story of an enslaved Ethiopian princess, the titular Aida, who is brought to the Egyptian court. Unbeknownst to the court, the Egyptian military commander Radames is in love with Aida, who also returns his love. Throughout the opera the couple struggles to assert their love, while also honoring their respective countries and dealing with the war that ensues between Egypt and Ethiopia. \"Aida\" was immensely popular when it premiered and is still considered one of the most beloved operas today.","\"Aida\" has a performance history of brown and blackface, with white singers often performing characters of another race. This occurred as recently as early 2020, though there has been more effort in the opera world to cast racially appropriate singers in these roles, particularly that of Aida.","Processing completed by Amanda Brent in March 2021. EAD markup completed by Amanda Brent in March 2021. This item was formerly part of the Performing Arts Manuscript Materials collection, C0215.","The Special Collections Research Center also holds the  and the , as well as other materials related to opera, costume design, and the performing arts.","Seven pen and watercolor paintings on paper of character and chorus member costume designs for the opera \"Aida,\" made circa early 1870s. Featured are Radames in Act I, Scene 1 and Act II, Scene 4; Ax-bearers from Act II, Scene 4; Officers of the chorus, Act I, Scene 1 and Act II, Scene 4; Amneris in Act II, Scene 4; and The King, Act II, Scene 4 and Act I, Scene 1. Notably absent are the roles of Aida, Amonasro, and Ramfis. Each painting has the name of the role written in pen on the lower left corner and the act and scene numbers on the bottom right corner. The main roles have the voice range written next to the role name. All text is written in French.","No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)","Seven pen and watercolor paintings on paper of character and chorus member costume designs for the opera \"Aida,\" circa early 1870s.","R 72, C 3, S 5","George Mason University. Libraries. Special Collections Research Center","Verdi, Giuseppe, 1813-1901. (Title of work: Aïda.)","French"],"collection_title_tesim":["\"Aida\" opera costume paintings, 1870"],"collection_ssim":["\"Aida\" opera costume paintings, 1870"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0473","/repositories/2/resources/542"],"unitid_tesim":["C0473","/repositories/2/resources/542"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["George Mason University. Libraries. Special Collections Research Center"],"creator_ssim":["George Mason University. Libraries. Special Collections Research Center"],"creator_persname_ssim":["Verdi, Giuseppe, 1813-1901. (Title of work: Aïda.)"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"creators_ssim":["Verdi, Giuseppe, 1813-1901. (Title of work: Aïda.)","George Mason University. Libraries. Special Collections Research Center"],"access_terms_ssm":["No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)"],"acqinfo_ssim":["Purchased by Steve Gerber from J \u0026 J Lubrano Music Antiquarians in September 2016."],"access_subjects_ssim":["Art","Costume design","Opera"],"access_subjects_ssm":["Art","Costume design","Opera"],"has_online_content_ssim":["false"],"extent_ssm":[".01 Linear Feet 7 paintings"],"extent_tesim":[".01 Linear Feet 7 paintings"],"date_range_isim":[1870],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis is a single folder collection.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This is a single folder collection."],"bibliography_html_tesm":["\u003cp\u003eGroenert, Kaeli, \"Blackface at the Met: An exploration of the casting of performers of color in the roles of Aida and Othello from 2007-2017\" (2019). Music. 1. https://scholarsarchive.library.albany.edu/honorscollege_music/1.\u003c/p\u003e","\u003cp\u003eHolmes, Helen. \"The Met Casts Anna Netrebko as 'Aida' Despite Her Past Controversy in the Role,\" February 13, 2020. Observer. https://observer.com/2020/02/anna-netrebko-aida-met-opera-casting-2020-2021-season-details/.\u003c/p\u003e","\u003cp\u003e\"Synopsis: Aida.\" The Metropolitan Opera. Accessed March 15, 2021. https://www.metopera.org/user-information/synopses-archive/aida.\u003c/p\u003e  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Groenert, Kaeli, \"Blackface at the Met: An exploration of the casting of performers of color in the roles of Aida and Othello from 2007-2017\" (2019). Music. 1. https://scholarsarchive.library.albany.edu/honorscollege_music/1.","Holmes, Helen. \"The Met Casts Anna Netrebko as 'Aida' Despite Her Past Controversy in the Role,\" February 13, 2020. Observer. https://observer.com/2020/02/anna-netrebko-aida-met-opera-casting-2020-2021-season-details/.","\"Synopsis: Aida.\" The Metropolitan Opera. Accessed March 15, 2021. https://www.metopera.org/user-information/synopses-archive/aida."],"bioghist_html_tesm":["\u003cp\u003e\"Aida\" is a four-act opera by Giuseppe Verde that premiered in 1871. Set in the Old Kingdom of Egypt and sung in Italian, it tells the story of an enslaved Ethiopian princess, the titular Aida, who is brought to the Egyptian court. Unbeknownst to the court, the Egyptian military commander Radames is in love with Aida, who also returns his love. Throughout the opera the couple struggles to assert their love, while also honoring their respective countries and dealing with the war that ensues between Egypt and Ethiopia. \"Aida\" was immensely popular when it premiered and is still considered one of the most beloved operas today. \u003c/p\u003e","\u003cp\u003e\"Aida\" has a performance history of brown and blackface, with white singers often performing characters of another race. This occurred as recently as early 2020, though there has been more effort in the opera world to cast racially appropriate singers in these roles, particularly that of Aida.\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["\"Aida\" is a four-act opera by Giuseppe Verde that premiered in 1871. Set in the Old Kingdom of Egypt and sung in Italian, it tells the story of an enslaved Ethiopian princess, the titular Aida, who is brought to the Egyptian court. Unbeknownst to the court, the Egyptian military commander Radames is in love with Aida, who also returns his love. Throughout the opera the couple struggles to assert their love, while also honoring their respective countries and dealing with the war that ensues between Egypt and Ethiopia. \"Aida\" was immensely popular when it premiered and is still considered one of the most beloved operas today.","\"Aida\" has a performance history of brown and blackface, with white singers often performing characters of another race. This occurred as recently as early 2020, though there has been more effort in the opera world to cast racially appropriate singers in these roles, particularly that of Aida."],"prefercite_html_tesm":["\u003cp\u003e\"Aida\" opera costume paintings, C0473, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["\"Aida\" opera costume paintings, C0473, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Amanda Brent in March 2021. EAD markup completed by Amanda Brent in March 2021. This item was formerly part of the Performing Arts Manuscript Materials collection, C0215.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Amanda Brent in March 2021. EAD markup completed by Amanda Brent in March 2021. This item was formerly part of the Performing Arts Manuscript Materials collection, C0215."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr show=\"new\" title=\"Single 'Aida' opera costume painting (C0474)\" href=\"https://aspace.gmu.edu/repositories/2/resources/543\"\u003e\u003c/extptr\u003e and the \u003cextptr show=\"new\" title=\"'Cavalleria rusticana' opera costume paintings\" href=\"https://aspace.gmu.edu/repositories/2/resources/541\"\u003e\u003c/extptr\u003e, as well as other materials related to opera, costume design, and the performing arts.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the  and the , as well as other materials related to opera, costume design, and the performing arts."],"scopecontent_html_tesm":["\u003cp\u003eSeven pen and watercolor paintings on paper of character and chorus member costume designs for the opera \"Aida,\" made circa early 1870s. Featured are Radames in Act I, Scene 1 and Act II, Scene 4; Ax-bearers from Act II, Scene 4; Officers of the chorus, Act I, Scene 1 and Act II, Scene 4; Amneris in Act II, Scene 4; and The King, Act II, Scene 4 and Act I, Scene 1. Notably absent are the roles of Aida, Amonasro, and Ramfis. Each painting has the name of the role written in pen on the lower left corner and the act and scene numbers on the bottom right corner. The main roles have the voice range written next to the role name. All text is written in French.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Seven pen and watercolor paintings on paper of character and chorus member costume designs for the opera \"Aida,\" made circa early 1870s. Featured are Radames in Act I, Scene 1 and Act II, Scene 4; Ax-bearers from Act II, Scene 4; Officers of the chorus, Act I, Scene 1 and Act II, Scene 4; Amneris in Act II, Scene 4; and The King, Act II, Scene 4 and Act I, Scene 1. Notably absent are the roles of Aida, Amonasro, and Ramfis. Each painting has the name of the role written in pen on the lower left corner and the act and scene numbers on the bottom right corner. The main roles have the voice range written next to the role name. All text is written in French."],"userestrict_html_tesm":["\u003cp\u003eNo known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["No known copyright. The Special Collections Research Center, George Mason University Libraries believes that this collection is not restricted by copyright or related rights, but a conclusive determination could not be made. (See https://rightsstatements.org/page/NKC/1.0/?language=en)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_9576737c0c53a822d5c41ce4fcab5344\" label=\"Abstract\"\u003eSeven pen and watercolor paintings on paper of character and chorus member costume designs for the opera \"Aida,\" circa early 1870s.\u003c/abstract\u003e\n    "],"abstract_tesim":["Seven pen and watercolor paintings on paper of character and chorus member costume designs for the opera \"Aida,\" circa early 1870s."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_1e79eb9724213e0fffe9962712ab3fa7\"\u003eR 72, C 3, S 5\u003c/physloc\u003e\n    "],"physloc_tesim":["R 72, C 3, S 5"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"persname_ssim":["Verdi, Giuseppe, 1813-1901. (Title of work: Aïda.)"],"names_coll_ssim":["Verdi, Giuseppe, 1813-1901. (Title of work: Aïda.)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Verdi, Giuseppe, 1813-1901. (Title of work: Aïda.)"],"language_ssim":["French"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:35:01.774Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_542"}},{"id":"vifgm_repositories_2_resources_144","type":"collection","attributes":{"title":"Northern Virginia Civil War images collection, 1853/1914","creator":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_144#creator","type":"document_value","attributes":{"value":"George Mason University. Libraries. Special Collections Research Center","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_144#abstract_or_scope","type":"document_value","attributes":{"value":"The collection contains images and maps depicting Northern Virginia. A majority of the images are contemporary illustrations of the Civil War in Virginia. Formats include wood engravings, steel engravings, lithographs, chromolithographs, and a manuscript.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_144#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_144","ead_ssi":"vifgm_repositories_2_resources_144","_root_":"vifgm_repositories_2_resources_144","_nest_parent_":"vifgm_repositories_2_resources_144","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_144.xml","title_filing_ssi":"Northern Virginia Civil War images collection","title_ssm":["Northern Virginia Civil War images collection"],"title_tesim":["Northern Virginia Civil War images collection"],"unitdate_ssm":["1853-1914"],"unitdate_inclusive_ssm":["1853-1914"],"normalized_date_ssm":["1853/1914"],"normalized_title_ssm":["Northern Virginia Civil War images collection, 1853/1914"],"text":["Northern Virginia Civil War images collection, 1853/1914","C0150","/repositories/2/resources/144","Virginia -- History -- Civil War, 1861-1865","Virginia, Northern","United States -- History -- Civil War, 1861-1865","Virginia, Northern -- History","Maps","Lithography","Chromolithography","Wood engravings","Steel engravings","There are no access restrictions.","This collection is arranged by locality of primary image.","The Illustrated London News was one of the first newspapers to employ wood engravings on a wide scale. One of its artists was Frank Vizetelly (1830-1883); he covered the Civil War for British readers. Early on, he illustrated the war from the Union side but was later allowed to draw from the Confederate side. Artists like Vizetelly sometimes did more than draw, though. He acted as a messenger for Confederate General James Longstreet at the battle of Chickamauga. Vizetelly was also a staff aide for the Confederates at the battle of Fredericksburg and was present at Charleston, South Carolina, when it was besieged. Because of such personal involvement by artists, many engravings were not made by detached observers, but by active participants in history unfolding.","Frank Leslie (1821-1880) was another artist who began his career as an engraver in 1842 and eventually published his own newspaper, which he titled, Frank Leslie's Illustrated Newspaper. The newspaper also covered the Civil War. Leslie used a large number of illustrations in his newspaper to increase circulation. Images from Frank Leslie's Illustrated Newspaper are well represented in Northern Virginia Images Collection, including several images from the German language edition of the newspaper.","Another popular periodical of the time was Harper's Weekly. It first appeared in 1857 and became one of the most important and influential periodicals in nineteenth century America, notably during the Civil War. Two prominent artists for Harper's Weekly during this period were Alfred Waud (1828-1891) and Thomas Nast (1840-1902). Engravings by both are included in Northern Virginia Images Collection. Waud was primarily assigned to the eastern front and covered the war from the Battle of First Manassas to the Confederacy's surrender at Appomattox Court House. Thomas Nast (who later became famous for creating the roly- poly figure in red we now know as Santa Claus) worked largely in New York for most of the war. One of the major exceptions to this was when he spent time in the Union camp during the Battle of Gettysburg. Nast's sympathies were for the Union side, which, naturally, bothered Southerners, who often sent threatening letters to Nast at the Harper's Weekly office. By and large, The Illustrated London News, Frank Leslie's Illustrated Newspaper, and Harper's Weekly illustrated the Civil War from the Northern point-of-view.","Many of today's Northern Virginia residents only know the area as a population outgrowth of Washington, D.C. Despite this cosmopolitan reputation, it was largely farm country at the time of the Civil War through World War II. Few realize that the area was the frequent battleground for large contending forces. Yet, many of the areas that are depicted in the images still exist today but under much different circumstances. Some of the areas included in these images have undergone radical cultural changes as well. An Islamic Mosque now occupies Munson Hill, which Confederate forces occupied under General J.E.B. Stuart during early days of the war.","Processed by Special Collections Research Center staff. EAD markup completed in February 2009 by Eron Ackerman and Jordan Patty. EAD updated by Greta Kuriger in July 2011.","The Special Collections Research Center also holds the , the , and the WRLC digital collection . The  is available for GMU affiliated researchers.","The collection consists of nearly 200 images on various historical subjects in a variety of formats, including wood engravings, steel engravings, lithographs, chromolithographs, maps, and manuscripts. Most of the images depict battles and maps of the Civil War. The maps include the cities of Arlington and Alexandria and the counties of Fairfax, Loudoun and Prince William. Columbia Pike, Chain Bridge, Long Bridge, the Little River Turnpike, Centreville and Manassas all existed at the time of the Civil War and all of them are represented or referenced in these images.","Most of the Civil War images are from three periodicals: The Illustrated London News, Frank Leslie's Illustrated Newspaper, and Harper's Weekly. They are primarily wood engravings, several of which are hand colored. Though wood engraving was invented as an illustrative technique in the 1790s, it was the later appearance of the mass illustrated newspaper that took advantage of the technique to appeal to a wide readership.","Although pictorial images comprise the majority of images in the collection, there are also numerous maps, most of which were produced by lithography. A number were produced for military purposes and employed by both the North and South alike. Maps made during the Civil War were often exceedingly accurate; their usefulness carried on into the twentieth century.","Public domain. There are no known restrictions.","The collection contains images and maps depicting Northern Virginia. A majority of the images are contemporary illustrations of the Civil War in Virginia. Formats include wood engravings, steel engravings, lithographs, chromolithographs, and a manuscript.","Map Case 11.5, 23.5-24.5","George Mason University. Libraries. Special Collections Research Center","English"],"collection_title_tesim":["Northern Virginia Civil War images collection, 1853/1914"],"collection_ssim":["Northern Virginia Civil War images collection, 1853/1914"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0150","/repositories/2/resources/144"],"unitid_tesim":["C0150","/repositories/2/resources/144"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Virginia -- History -- Civil War, 1861-1865","Virginia, Northern","United States -- History -- Civil War, 1861-1865","Virginia, Northern -- History"],"geogname_ssim":["Virginia -- History -- Civil War, 1861-1865","Virginia, Northern","United States -- History -- Civil War, 1861-1865","Virginia, Northern -- History"],"places_ssim":["Virginia -- History -- Civil War, 1861-1865","Virginia, Northern","United States -- History -- Civil War, 1861-1865","Virginia, Northern -- History"],"creator_ssm":["George Mason University. Libraries. Special Collections Research Center"],"creator_ssim":["George Mason University. Libraries. Special Collections Research Center"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"creators_ssim":["George Mason University. Libraries. Special Collections Research Center"],"access_terms_ssm":["Public domain. There are no known restrictions."],"acqinfo_ssim":["Purchased by Special Collections and Archives in 1997-2005 from Prints Old and Rare."],"access_subjects_ssim":["Maps","Lithography","Chromolithography","Wood engravings","Steel engravings"],"access_subjects_ssm":["Maps","Lithography","Chromolithography","Wood engravings","Steel engravings"],"has_online_content_ssim":["false"],"extent_ssm":["3 Linear Feet"],"extent_tesim":["3 Linear Feet"],"genreform_ssim":["Wood engravings","Steel engravings"],"date_range_isim":[1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged by locality of primary image.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged by locality of primary image."],"bioghist_html_tesm":["\u003cp\u003eThe Illustrated London News was one of the first newspapers to employ wood engravings on a wide scale. One of its artists was Frank Vizetelly (1830-1883); he covered the Civil War for British readers. Early on, he illustrated the war from the Union side but was later allowed to draw from the Confederate side. Artists like Vizetelly sometimes did more than draw, though. He acted as a messenger for Confederate General James Longstreet at the battle of Chickamauga. Vizetelly was also a staff aide for the Confederates at the battle of Fredericksburg and was present at Charleston, South Carolina, when it was besieged. Because of such personal involvement by artists, many engravings were not made by detached observers, but by active participants in history unfolding.\u003c/p\u003e","\u003cp\u003eFrank Leslie (1821-1880) was another artist who began his career as an engraver in 1842 and eventually published his own newspaper, which he titled, Frank Leslie's Illustrated Newspaper. The newspaper also covered the Civil War. Leslie used a large number of illustrations in his newspaper to increase circulation. Images from Frank Leslie's Illustrated Newspaper are well represented in Northern Virginia Images Collection, including several images from the German language edition of the newspaper.\u003c/p\u003e","\u003cp\u003eAnother popular periodical of the time was Harper's Weekly. It first appeared in 1857 and became one of the most important and influential periodicals in nineteenth century America, notably during the Civil War. Two prominent artists for Harper's Weekly during this period were Alfred Waud (1828-1891) and Thomas Nast (1840-1902). Engravings by both are included in Northern Virginia Images Collection. Waud was primarily assigned to the eastern front and covered the war from the Battle of First Manassas to the Confederacy's surrender at Appomattox Court House. Thomas Nast (who later became famous for creating the roly- poly figure in red we now know as Santa Claus) worked largely in New York for most of the war. One of the major exceptions to this was when he spent time in the Union camp during the Battle of Gettysburg. Nast's sympathies were for the Union side, which, naturally, bothered Southerners, who often sent threatening letters to Nast at the Harper's Weekly office. By and large, The Illustrated London News, Frank Leslie's Illustrated Newspaper, and Harper's Weekly illustrated the Civil War from the Northern point-of-view.\u003c/p\u003e","\u003cp\u003eMany of today's Northern Virginia residents only know the area as a population outgrowth of Washington, D.C. Despite this cosmopolitan reputation, it was largely farm country at the time of the Civil War through World War II. Few realize that the area was the frequent battleground for large contending forces. Yet, many of the areas that are depicted in the images still exist today but under much different circumstances. Some of the areas included in these images have undergone radical cultural changes as well. An Islamic Mosque now occupies Munson Hill, which Confederate forces occupied under General J.E.B. Stuart during early days of the war.\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Illustrated London News was one of the first newspapers to employ wood engravings on a wide scale. One of its artists was Frank Vizetelly (1830-1883); he covered the Civil War for British readers. Early on, he illustrated the war from the Union side but was later allowed to draw from the Confederate side. Artists like Vizetelly sometimes did more than draw, though. He acted as a messenger for Confederate General James Longstreet at the battle of Chickamauga. Vizetelly was also a staff aide for the Confederates at the battle of Fredericksburg and was present at Charleston, South Carolina, when it was besieged. Because of such personal involvement by artists, many engravings were not made by detached observers, but by active participants in history unfolding.","Frank Leslie (1821-1880) was another artist who began his career as an engraver in 1842 and eventually published his own newspaper, which he titled, Frank Leslie's Illustrated Newspaper. The newspaper also covered the Civil War. Leslie used a large number of illustrations in his newspaper to increase circulation. Images from Frank Leslie's Illustrated Newspaper are well represented in Northern Virginia Images Collection, including several images from the German language edition of the newspaper.","Another popular periodical of the time was Harper's Weekly. It first appeared in 1857 and became one of the most important and influential periodicals in nineteenth century America, notably during the Civil War. Two prominent artists for Harper's Weekly during this period were Alfred Waud (1828-1891) and Thomas Nast (1840-1902). Engravings by both are included in Northern Virginia Images Collection. Waud was primarily assigned to the eastern front and covered the war from the Battle of First Manassas to the Confederacy's surrender at Appomattox Court House. Thomas Nast (who later became famous for creating the roly- poly figure in red we now know as Santa Claus) worked largely in New York for most of the war. One of the major exceptions to this was when he spent time in the Union camp during the Battle of Gettysburg. Nast's sympathies were for the Union side, which, naturally, bothered Southerners, who often sent threatening letters to Nast at the Harper's Weekly office. By and large, The Illustrated London News, Frank Leslie's Illustrated Newspaper, and Harper's Weekly illustrated the Civil War from the Northern point-of-view.","Many of today's Northern Virginia residents only know the area as a population outgrowth of Washington, D.C. Despite this cosmopolitan reputation, it was largely farm country at the time of the Civil War through World War II. Few realize that the area was the frequent battleground for large contending forces. Yet, many of the areas that are depicted in the images still exist today but under much different circumstances. Some of the areas included in these images have undergone radical cultural changes as well. An Islamic Mosque now occupies Munson Hill, which Confederate forces occupied under General J.E.B. Stuart during early days of the war."],"prefercite_html_tesm":["\u003cp\u003eNorthern Virginia Civil War images collection, C0150, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Northern Virginia Civil War images collection, C0150, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center staff. EAD markup completed in February 2009 by Eron Ackerman and Jordan Patty. EAD updated by Greta Kuriger in July 2011.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center staff. EAD markup completed in February 2009 by Eron Ackerman and Jordan Patty. EAD updated by Greta Kuriger in July 2011."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr show=\"new\" title=\"Alexander Haight family collection\" href=\"https://aspace.gmu.edu/resources/c0159\"\u003e\u003c/extptr\u003e, the \u003cextptr show=\"new\" title=\"Milton Barnes papers\" href=\"https://aspace.gmu.edu/resources/c0065\"\u003e\u003c/extptr\u003e, and the WRLC digital collection \u003cextptr show=\"new\" title=\"Virginia Civil War Archive\" href=\"http://www.aladin.wrlc.org/gsdl/collect/vacw/vacw.shtml\"\u003e\u003c/extptr\u003e. The \u003cextptr show=\"new\" title=\"digital version of Harper's Weekly\" href=\"http://app.harpweek.com/\"\u003e\u003c/extptr\u003e is available for GMU affiliated researchers.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the , the , and the WRLC digital collection . The  is available for GMU affiliated researchers."],"scopecontent_html_tesm":["\u003cp\u003eThe collection consists of nearly 200 images on various historical subjects in a variety of formats, including wood engravings, steel engravings, lithographs, chromolithographs, maps, and manuscripts. Most of the images depict battles and maps of the Civil War. The maps include the cities of Arlington and Alexandria and the counties of Fairfax, Loudoun and Prince William. Columbia Pike, Chain Bridge, Long Bridge, the Little River Turnpike, Centreville and Manassas all existed at the time of the Civil War and all of them are represented or referenced in these images. \u003c/p\u003e","\u003cp\u003eMost of the Civil War images are from three periodicals: The Illustrated London News, Frank Leslie's Illustrated Newspaper, and Harper's Weekly. They are primarily wood engravings, several of which are hand colored. Though wood engraving was invented as an illustrative technique in the 1790s, it was the later appearance of the mass illustrated newspaper that took advantage of the technique to appeal to a wide readership.\u003c/p\u003e","\u003cp\u003eAlthough pictorial images comprise the majority of images in the collection, there are also numerous maps, most of which were produced by lithography. A number were produced for military purposes and employed by both the North and South alike. Maps made during the Civil War were often exceedingly accurate; their usefulness carried on into the twentieth century.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The collection consists of nearly 200 images on various historical subjects in a variety of formats, including wood engravings, steel engravings, lithographs, chromolithographs, maps, and manuscripts. Most of the images depict battles and maps of the Civil War. The maps include the cities of Arlington and Alexandria and the counties of Fairfax, Loudoun and Prince William. Columbia Pike, Chain Bridge, Long Bridge, the Little River Turnpike, Centreville and Manassas all existed at the time of the Civil War and all of them are represented or referenced in these images.","Most of the Civil War images are from three periodicals: The Illustrated London News, Frank Leslie's Illustrated Newspaper, and Harper's Weekly. They are primarily wood engravings, several of which are hand colored. Though wood engraving was invented as an illustrative technique in the 1790s, it was the later appearance of the mass illustrated newspaper that took advantage of the technique to appeal to a wide readership.","Although pictorial images comprise the majority of images in the collection, there are also numerous maps, most of which were produced by lithography. A number were produced for military purposes and employed by both the North and South alike. Maps made during the Civil War were often exceedingly accurate; their usefulness carried on into the twentieth century."],"userestrict_html_tesm":["\u003cp\u003ePublic domain. There are no known restrictions.\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["Public domain. There are no known restrictions."],"abstract_html_tesm":["\u003cabstract id=\"aspace_dbd7a4df24b2682fee1bc6ec071e507a\" label=\"Abstract\"\u003eThe collection contains images and maps depicting Northern Virginia. A majority of the images are contemporary illustrations of the Civil War in Virginia. Formats include wood engravings, steel engravings, lithographs, chromolithographs, and a manuscript.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection contains images and maps depicting Northern Virginia. A majority of the images are contemporary illustrations of the Civil War in Virginia. Formats include wood engravings, steel engravings, lithographs, chromolithographs, and a manuscript."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_a70d19fef0e8a7a6be4be2038580131d\"\u003eMap Case 11.5, 23.5-24.5\u003c/physloc\u003e\n    "],"physloc_tesim":["Map Case 11.5, 23.5-24.5"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center"],"language_ssim":["English"],"total_component_count_is":471,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:21.201Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_144","ead_ssi":"vifgm_repositories_2_resources_144","_root_":"vifgm_repositories_2_resources_144","_nest_parent_":"vifgm_repositories_2_resources_144","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_144.xml","title_filing_ssi":"Northern Virginia Civil War images collection","title_ssm":["Northern Virginia Civil War images collection"],"title_tesim":["Northern Virginia Civil War images collection"],"unitdate_ssm":["1853-1914"],"unitdate_inclusive_ssm":["1853-1914"],"normalized_date_ssm":["1853/1914"],"normalized_title_ssm":["Northern Virginia Civil War images collection, 1853/1914"],"text":["Northern Virginia Civil War images collection, 1853/1914","C0150","/repositories/2/resources/144","Virginia -- History -- Civil War, 1861-1865","Virginia, Northern","United States -- History -- Civil War, 1861-1865","Virginia, Northern -- History","Maps","Lithography","Chromolithography","Wood engravings","Steel engravings","There are no access restrictions.","This collection is arranged by locality of primary image.","The Illustrated London News was one of the first newspapers to employ wood engravings on a wide scale. One of its artists was Frank Vizetelly (1830-1883); he covered the Civil War for British readers. Early on, he illustrated the war from the Union side but was later allowed to draw from the Confederate side. Artists like Vizetelly sometimes did more than draw, though. He acted as a messenger for Confederate General James Longstreet at the battle of Chickamauga. Vizetelly was also a staff aide for the Confederates at the battle of Fredericksburg and was present at Charleston, South Carolina, when it was besieged. Because of such personal involvement by artists, many engravings were not made by detached observers, but by active participants in history unfolding.","Frank Leslie (1821-1880) was another artist who began his career as an engraver in 1842 and eventually published his own newspaper, which he titled, Frank Leslie's Illustrated Newspaper. The newspaper also covered the Civil War. Leslie used a large number of illustrations in his newspaper to increase circulation. Images from Frank Leslie's Illustrated Newspaper are well represented in Northern Virginia Images Collection, including several images from the German language edition of the newspaper.","Another popular periodical of the time was Harper's Weekly. It first appeared in 1857 and became one of the most important and influential periodicals in nineteenth century America, notably during the Civil War. Two prominent artists for Harper's Weekly during this period were Alfred Waud (1828-1891) and Thomas Nast (1840-1902). Engravings by both are included in Northern Virginia Images Collection. Waud was primarily assigned to the eastern front and covered the war from the Battle of First Manassas to the Confederacy's surrender at Appomattox Court House. Thomas Nast (who later became famous for creating the roly- poly figure in red we now know as Santa Claus) worked largely in New York for most of the war. One of the major exceptions to this was when he spent time in the Union camp during the Battle of Gettysburg. Nast's sympathies were for the Union side, which, naturally, bothered Southerners, who often sent threatening letters to Nast at the Harper's Weekly office. By and large, The Illustrated London News, Frank Leslie's Illustrated Newspaper, and Harper's Weekly illustrated the Civil War from the Northern point-of-view.","Many of today's Northern Virginia residents only know the area as a population outgrowth of Washington, D.C. Despite this cosmopolitan reputation, it was largely farm country at the time of the Civil War through World War II. Few realize that the area was the frequent battleground for large contending forces. Yet, many of the areas that are depicted in the images still exist today but under much different circumstances. Some of the areas included in these images have undergone radical cultural changes as well. An Islamic Mosque now occupies Munson Hill, which Confederate forces occupied under General J.E.B. Stuart during early days of the war.","Processed by Special Collections Research Center staff. EAD markup completed in February 2009 by Eron Ackerman and Jordan Patty. EAD updated by Greta Kuriger in July 2011.","The Special Collections Research Center also holds the , the , and the WRLC digital collection . The  is available for GMU affiliated researchers.","The collection consists of nearly 200 images on various historical subjects in a variety of formats, including wood engravings, steel engravings, lithographs, chromolithographs, maps, and manuscripts. Most of the images depict battles and maps of the Civil War. The maps include the cities of Arlington and Alexandria and the counties of Fairfax, Loudoun and Prince William. Columbia Pike, Chain Bridge, Long Bridge, the Little River Turnpike, Centreville and Manassas all existed at the time of the Civil War and all of them are represented or referenced in these images.","Most of the Civil War images are from three periodicals: The Illustrated London News, Frank Leslie's Illustrated Newspaper, and Harper's Weekly. They are primarily wood engravings, several of which are hand colored. Though wood engraving was invented as an illustrative technique in the 1790s, it was the later appearance of the mass illustrated newspaper that took advantage of the technique to appeal to a wide readership.","Although pictorial images comprise the majority of images in the collection, there are also numerous maps, most of which were produced by lithography. A number were produced for military purposes and employed by both the North and South alike. Maps made during the Civil War were often exceedingly accurate; their usefulness carried on into the twentieth century.","Public domain. There are no known restrictions.","The collection contains images and maps depicting Northern Virginia. A majority of the images are contemporary illustrations of the Civil War in Virginia. Formats include wood engravings, steel engravings, lithographs, chromolithographs, and a manuscript.","Map Case 11.5, 23.5-24.5","George Mason University. Libraries. Special Collections Research Center","English"],"collection_title_tesim":["Northern Virginia Civil War images collection, 1853/1914"],"collection_ssim":["Northern Virginia Civil War images collection, 1853/1914"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0150","/repositories/2/resources/144"],"unitid_tesim":["C0150","/repositories/2/resources/144"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"geogname_ssm":["Virginia -- History -- Civil War, 1861-1865","Virginia, Northern","United States -- History -- Civil War, 1861-1865","Virginia, Northern -- History"],"geogname_ssim":["Virginia -- History -- Civil War, 1861-1865","Virginia, Northern","United States -- History -- Civil War, 1861-1865","Virginia, Northern -- History"],"places_ssim":["Virginia -- History -- Civil War, 1861-1865","Virginia, Northern","United States -- History -- Civil War, 1861-1865","Virginia, Northern -- History"],"creator_ssm":["George Mason University. Libraries. Special Collections Research Center"],"creator_ssim":["George Mason University. Libraries. Special Collections Research Center"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center"],"creators_ssim":["George Mason University. Libraries. Special Collections Research Center"],"access_terms_ssm":["Public domain. There are no known restrictions."],"acqinfo_ssim":["Purchased by Special Collections and Archives in 1997-2005 from Prints Old and Rare."],"access_subjects_ssim":["Maps","Lithography","Chromolithography","Wood engravings","Steel engravings"],"access_subjects_ssm":["Maps","Lithography","Chromolithography","Wood engravings","Steel engravings"],"has_online_content_ssim":["false"],"extent_ssm":["3 Linear Feet"],"extent_tesim":["3 Linear Feet"],"genreform_ssim":["Wood engravings","Steel engravings"],"date_range_isim":[1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged by locality of primary image.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is arranged by locality of primary image."],"bioghist_html_tesm":["\u003cp\u003eThe Illustrated London News was one of the first newspapers to employ wood engravings on a wide scale. One of its artists was Frank Vizetelly (1830-1883); he covered the Civil War for British readers. Early on, he illustrated the war from the Union side but was later allowed to draw from the Confederate side. Artists like Vizetelly sometimes did more than draw, though. He acted as a messenger for Confederate General James Longstreet at the battle of Chickamauga. Vizetelly was also a staff aide for the Confederates at the battle of Fredericksburg and was present at Charleston, South Carolina, when it was besieged. Because of such personal involvement by artists, many engravings were not made by detached observers, but by active participants in history unfolding.\u003c/p\u003e","\u003cp\u003eFrank Leslie (1821-1880) was another artist who began his career as an engraver in 1842 and eventually published his own newspaper, which he titled, Frank Leslie's Illustrated Newspaper. The newspaper also covered the Civil War. Leslie used a large number of illustrations in his newspaper to increase circulation. Images from Frank Leslie's Illustrated Newspaper are well represented in Northern Virginia Images Collection, including several images from the German language edition of the newspaper.\u003c/p\u003e","\u003cp\u003eAnother popular periodical of the time was Harper's Weekly. It first appeared in 1857 and became one of the most important and influential periodicals in nineteenth century America, notably during the Civil War. Two prominent artists for Harper's Weekly during this period were Alfred Waud (1828-1891) and Thomas Nast (1840-1902). Engravings by both are included in Northern Virginia Images Collection. Waud was primarily assigned to the eastern front and covered the war from the Battle of First Manassas to the Confederacy's surrender at Appomattox Court House. Thomas Nast (who later became famous for creating the roly- poly figure in red we now know as Santa Claus) worked largely in New York for most of the war. One of the major exceptions to this was when he spent time in the Union camp during the Battle of Gettysburg. Nast's sympathies were for the Union side, which, naturally, bothered Southerners, who often sent threatening letters to Nast at the Harper's Weekly office. By and large, The Illustrated London News, Frank Leslie's Illustrated Newspaper, and Harper's Weekly illustrated the Civil War from the Northern point-of-view.\u003c/p\u003e","\u003cp\u003eMany of today's Northern Virginia residents only know the area as a population outgrowth of Washington, D.C. Despite this cosmopolitan reputation, it was largely farm country at the time of the Civil War through World War II. Few realize that the area was the frequent battleground for large contending forces. Yet, many of the areas that are depicted in the images still exist today but under much different circumstances. Some of the areas included in these images have undergone radical cultural changes as well. An Islamic Mosque now occupies Munson Hill, which Confederate forces occupied under General J.E.B. Stuart during early days of the war.\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The Illustrated London News was one of the first newspapers to employ wood engravings on a wide scale. One of its artists was Frank Vizetelly (1830-1883); he covered the Civil War for British readers. Early on, he illustrated the war from the Union side but was later allowed to draw from the Confederate side. Artists like Vizetelly sometimes did more than draw, though. He acted as a messenger for Confederate General James Longstreet at the battle of Chickamauga. Vizetelly was also a staff aide for the Confederates at the battle of Fredericksburg and was present at Charleston, South Carolina, when it was besieged. Because of such personal involvement by artists, many engravings were not made by detached observers, but by active participants in history unfolding.","Frank Leslie (1821-1880) was another artist who began his career as an engraver in 1842 and eventually published his own newspaper, which he titled, Frank Leslie's Illustrated Newspaper. The newspaper also covered the Civil War. Leslie used a large number of illustrations in his newspaper to increase circulation. Images from Frank Leslie's Illustrated Newspaper are well represented in Northern Virginia Images Collection, including several images from the German language edition of the newspaper.","Another popular periodical of the time was Harper's Weekly. It first appeared in 1857 and became one of the most important and influential periodicals in nineteenth century America, notably during the Civil War. Two prominent artists for Harper's Weekly during this period were Alfred Waud (1828-1891) and Thomas Nast (1840-1902). Engravings by both are included in Northern Virginia Images Collection. Waud was primarily assigned to the eastern front and covered the war from the Battle of First Manassas to the Confederacy's surrender at Appomattox Court House. Thomas Nast (who later became famous for creating the roly- poly figure in red we now know as Santa Claus) worked largely in New York for most of the war. One of the major exceptions to this was when he spent time in the Union camp during the Battle of Gettysburg. Nast's sympathies were for the Union side, which, naturally, bothered Southerners, who often sent threatening letters to Nast at the Harper's Weekly office. By and large, The Illustrated London News, Frank Leslie's Illustrated Newspaper, and Harper's Weekly illustrated the Civil War from the Northern point-of-view.","Many of today's Northern Virginia residents only know the area as a population outgrowth of Washington, D.C. Despite this cosmopolitan reputation, it was largely farm country at the time of the Civil War through World War II. Few realize that the area was the frequent battleground for large contending forces. Yet, many of the areas that are depicted in the images still exist today but under much different circumstances. Some of the areas included in these images have undergone radical cultural changes as well. An Islamic Mosque now occupies Munson Hill, which Confederate forces occupied under General J.E.B. Stuart during early days of the war."],"prefercite_html_tesm":["\u003cp\u003eNorthern Virginia Civil War images collection, C0150, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Northern Virginia Civil War images collection, C0150, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Special Collections Research Center staff. EAD markup completed in February 2009 by Eron Ackerman and Jordan Patty. EAD updated by Greta Kuriger in July 2011.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Special Collections Research Center staff. EAD markup completed in February 2009 by Eron Ackerman and Jordan Patty. EAD updated by Greta Kuriger in July 2011."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003cextptr show=\"new\" title=\"Alexander Haight family collection\" href=\"https://aspace.gmu.edu/resources/c0159\"\u003e\u003c/extptr\u003e, the \u003cextptr show=\"new\" title=\"Milton Barnes papers\" href=\"https://aspace.gmu.edu/resources/c0065\"\u003e\u003c/extptr\u003e, and the WRLC digital collection \u003cextptr show=\"new\" title=\"Virginia Civil War Archive\" href=\"http://www.aladin.wrlc.org/gsdl/collect/vacw/vacw.shtml\"\u003e\u003c/extptr\u003e. The \u003cextptr show=\"new\" title=\"digital version of Harper's Weekly\" href=\"http://app.harpweek.com/\"\u003e\u003c/extptr\u003e is available for GMU affiliated researchers.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the , the , and the WRLC digital collection . The  is available for GMU affiliated researchers."],"scopecontent_html_tesm":["\u003cp\u003eThe collection consists of nearly 200 images on various historical subjects in a variety of formats, including wood engravings, steel engravings, lithographs, chromolithographs, maps, and manuscripts. Most of the images depict battles and maps of the Civil War. The maps include the cities of Arlington and Alexandria and the counties of Fairfax, Loudoun and Prince William. Columbia Pike, Chain Bridge, Long Bridge, the Little River Turnpike, Centreville and Manassas all existed at the time of the Civil War and all of them are represented or referenced in these images. \u003c/p\u003e","\u003cp\u003eMost of the Civil War images are from three periodicals: The Illustrated London News, Frank Leslie's Illustrated Newspaper, and Harper's Weekly. They are primarily wood engravings, several of which are hand colored. Though wood engraving was invented as an illustrative technique in the 1790s, it was the later appearance of the mass illustrated newspaper that took advantage of the technique to appeal to a wide readership.\u003c/p\u003e","\u003cp\u003eAlthough pictorial images comprise the majority of images in the collection, there are also numerous maps, most of which were produced by lithography. A number were produced for military purposes and employed by both the North and South alike. Maps made during the Civil War were often exceedingly accurate; their usefulness carried on into the twentieth century.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The collection consists of nearly 200 images on various historical subjects in a variety of formats, including wood engravings, steel engravings, lithographs, chromolithographs, maps, and manuscripts. Most of the images depict battles and maps of the Civil War. The maps include the cities of Arlington and Alexandria and the counties of Fairfax, Loudoun and Prince William. Columbia Pike, Chain Bridge, Long Bridge, the Little River Turnpike, Centreville and Manassas all existed at the time of the Civil War and all of them are represented or referenced in these images.","Most of the Civil War images are from three periodicals: The Illustrated London News, Frank Leslie's Illustrated Newspaper, and Harper's Weekly. They are primarily wood engravings, several of which are hand colored. Though wood engraving was invented as an illustrative technique in the 1790s, it was the later appearance of the mass illustrated newspaper that took advantage of the technique to appeal to a wide readership.","Although pictorial images comprise the majority of images in the collection, there are also numerous maps, most of which were produced by lithography. A number were produced for military purposes and employed by both the North and South alike. Maps made during the Civil War were often exceedingly accurate; their usefulness carried on into the twentieth century."],"userestrict_html_tesm":["\u003cp\u003ePublic domain. There are no known restrictions.\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["Public domain. There are no known restrictions."],"abstract_html_tesm":["\u003cabstract id=\"aspace_dbd7a4df24b2682fee1bc6ec071e507a\" label=\"Abstract\"\u003eThe collection contains images and maps depicting Northern Virginia. A majority of the images are contemporary illustrations of the Civil War in Virginia. Formats include wood engravings, steel engravings, lithographs, chromolithographs, and a manuscript.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection contains images and maps depicting Northern Virginia. A majority of the images are contemporary illustrations of the Civil War in Virginia. 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