Reconstruction Era National Historical Park — Lay of the Land Visitor Center Exhibit

Welcome to Reconstruction Era National Historical Park and our Visitor Center exhibit “Lay of the Land”. This audio described exhibit takes approximately two hours and fourteen minutes to listen through with the directions, each panel takes approximately ten minutes to listen too. Continue to listen for information about the visitor center space. 

As you enter the visitor center the desk is a short distance from the front door in the center of the space. The visitor center is one large room on a single floor. The desk sits in the center of the space, with the exhibit to the left, and the bookstore to the right. At the back of the bookstore is the water fountain, with a bottle refill station, and the bathroom. There are two metal structural poles on either side of the desk. On the left toward the exhibit the pole is a short distance from the entrance wall, and  from the desk. The first exhibit panel is a short distance behind the pole. On the right the structural pole is close to the desk and a short distance from the entrance wall. As you listen to the exhibit directions will be provided to the panel you are looking for in relation to the front desk and the walls of the building.

The exhibit is made up of 14 panels and 2 object cases. Most of the panels line the walls but there are 2 freestanding panels both are shaped like L’s. Each side of the L shaped panel is 36 inches wide and six feet tall, there are graphics on both sides of the panels. All of the panels have a background of the 1860s tax map of the Sea Islands. This map shows the plots of land and the names of people who purchased the land in the tax auctions. The map is barely readable and acts as a faded layer of texture in the back of the panels. This map will be mentioned several times in the audio description as a faded map or historical texture.

The start of the exhibit is a short distance from the desk on the left side of the building . There is a pole, a short distance in front of the introduction exhibit panel, “Lay of the Land”. After experiencing the first panel you can move around the left side of the panel towards the wall with the entrance and continue towards the left side of the building. There are two panels in the corner of the building titled “Free Labor” and “We wish to have a home if it be but a few acres…”. Then behind you the other 2 panels of the L’s graphic, titled “Fertile Soil, Fertile Minds” and “True Knowledge unfits a man to be a slave.” Along the left side wall of the visitor center is another panel, titled “There is no power on earth that can deny that he has earned the right to citizenship”, with an object case in front of it. In front of the left front corner of the object case is another structural pole. Around the other side of the L panel is a graphic titled “A Looming Crisis”. In front of the large arched middle window on the left wall of the space is a waist height 5 foot long panel titled “Through the Lens”. A short distance from the waist height panel towards the middle of the left side of the building is the next L shaped panel titled “Reconstructing the Constitution”. This panel is a short distance from the first L shaped panel at the front of the building. Walk around the L shaped panel on the left side for the side panel graphic titled “A Brief Moment in the Sun”. Continue around the panel to see the inside graphics titled “Since Reconstruction Times, 53,000 Negroes have been killed in the South” and “Resistances & Black Excellence”. Behind the inside of the L shaped panel is the final panel set in the back corner of the left side of the building titled “How did we recover our liberty? By Fraud and violence” and "The histories of Reconstruction “…have been recorded and arm us for our contemporary battles”- Martin Luther King, Jr., 1968." To the right of the panels against the back wall is the final object case.

As you listen to the exhibit directions will be provided to the panel you are looking for in relation to the front desk and the walls of the building.

From roughly the center of the desk turn back towards the front door. Walk a short distance towards the door. Then turn to the right and walk a short distance forward to arrive at the introductory panel. Be careful there is a structural metal pole in front of the middle of the panel. 

DESCRIBING: A 6 foot tall, 3 foot wide panel that is in the middle of the exhibit space.

SYNOPSIS: The top of the design features a sailing ship to the right of bold text that reads “Lay of the Land.” The yellow background below includes historical text that focuses on the early stages of Reconstruction in the Sea Islands of South Carolina. A detailed antique map of the region fills the bottom half of the panel.

IN-DEPTH DESCRIPTION: Viewers are looking at a 6 foot tall exhibit panel with text overlaid on a 1860s map. The title “Lay of the Land” immediately grabs the viewer’s attention from the beginning. The warm yellow background design incorporates subtle map lines. A portion of the map on the top right edge is a grey color and grey on the middle right above the historic map below.

A passage below encourages viewers to picture the early Reconstruction era, focusing on important events including the U.S. military’s seizure of the Sea Islands in 1861, the departure of white residents, and the freedom of 10,000 formerly enslaved individuals. It discusses the creation of new policies about landownership, education, free labor, and Black military service that laid the groundwork for Reconstruction in the American South. The bottom shows a black-and-white 1860s map showing the Sea Islands consisting of Hilton Head Island, Edisto Island, St. Helena Island, Beaufort Island, Parris Island, Hunting Island, Coosaw Island, Morgan Island, Fenwick Island, Hutchinson Island, Wadmalaw Island, Lemon Island, Spring Island, Daufuskie Island, Bluffton Island, Tybee Island, Wilmington Island, and the Savannah and Charleston Railroad, the Combahee, Ashepoo, Edisto, and Savannah Rivers, with detailed coastal features and settlements.

Imagine a time when freedom was newly won, but the future remained uncertain. In the Sea Islands of South Carolina, Reconstruction came early. During the Civil War, in November 1861, the military forces of the United States captured the Sea Islands. The white residents fled inland, leaving around 10,000 enslaved people. The following spring, soldiers and civilians began developing policies to pay wages to formerly enslaved people, build schools, and redistribute land. These ideas became the foundations of Reconstruction.

Between 1861 and 1900, the nation changed dramatically during the Reconstruction era. Issues around land, culture, and freedom defined a generation. As you walk through this exhibit, reflect on how Reconstruction shaped the world we live in today. Are we still in the process of Reconstruction?

DESCRIBING: A sepia toned map

SYNOPSIS: A 19th century sepia toned map of the coastline of South Carolina, from Edisto Island at the north and top of the map to Tybee Island in Georgia to the south and bottom of the map.

IN-DEPTH DESCRIPTION: This map is centered around Beaufort and the surrounding Sea Islands. The Sea Islands and Barrier Islands are shown. In the top left corner of the map is part of the Charleston to Savannah Railroad line. Important islands to note on this map include Edisto Island in the top right corner. Hutchinson Island which is located just south of Edisto. Port Royal Island at the center of the map which is clustered with Parry, Ladies Island, St. Helena Island, and barrier islands of Hunting, Fripp's, Pritchard's, and Caper's moving closer to the Atlantic Ocean in the bottom right of the map. In the bottom right of the map is Hilton Head Island, Danfuskie Island, Fort Pulaski, and Tybee Island. Many of the Rivers are named, including the Port Royal Entrance which leads to the Beaufort River and the Broad River that separates the main land from Port Royal Island.

From the front desk turn back towards the front entrance and walk a short distance towards the door then turn to the right and walk a short distance trailing the left side of the building. The panel will be at your left on the front wall (the wall where the door is located). This panel is past the “Lay of the Land” panel and can be access by walking around the left side of the “Lay of the Land” panel. Connected to this panel on the right is the “We wish to have a home if it be but a few acres” panel. These two panels “Free Labor” and “We wish…” create a corner.

DESCRIBING: An eight foot tall exhibit panel of sepia toned photographs with text, illustrating the transition of formerly enslaved people to free agricultural labor during Reconstruction.

SYNOPSIS: The collage includes various sepia toned photographs embedded in the exhibit panel that explains the move to free labor post Civil War. It provides details on community developments and the rise and impact of sharecropping.

IN-DEPTH DESCRIPTION: Starting from the top, a vivid sepia photograph shows several African American men and women standing in front of lush foliage, indicative of a rural setting. To its right, another photograph captures a busy cotton press scene, emphasizing labor, men operate machinery, and sacks are piled high. The central portion of the poster includes explanatory text about the rise of free labor and community establishments like Mitchelville on Hilton Head Island. The subsequent section details the emergence of sharecropping, supported by an image of a family—the women wear long dresses and head wraps, the men in working attire—standing in front of a worn wooden structure. Visually cohesive, the exhibit panel’s appearance is further enhanced by an overlay of historical map texturing.

DESCRIBING: An old black and white photograph with a group of people.

SYNOPSIS: Several individuals are captured walking down a tree lined dirt path. The focus is on the individuals carrying tools over their shoulders, moving in an organized line.

IN-DEPTH DESCRIPTION: This photograph shows a mixed gender group moving along a dirt path that curves slightly away into the background, lined with large trees. The men, who are at the forefront, are dressed in work clothes, including dark pants and jackets. Each man carries a long stick or tool over his shoulder, adding a sense of purpose. One man in the center, slightly ahead of the others, wears a hat with a broader brim, giving him an air of authority. Behind them, less distinct due to movement and possible depth of field, are more individuals, including women in dresses, adding layers to the image. The scene is set in an outdoor, rural environment, likely in late summer or early autumn given the light and shadows.

CREDIT: Library of Congress

DESCRIBING: A historical black and white photograph showing a cotton gin in use.

SYNOPSIS: The focus is on a vintage cotton gin surrounded by workers and buildings, under a canopy of tall trees.

IN-DEPTH DESCRIPTION: Dominating the left side, the wooden cotton gin stands tall with a steep staircase leading to a platform, where a person handles a heap of cotton. The gin appears old and rugged. Beside the gin is a dilapidated wooden barn, doors variously ajar, and weathered with time. Several individuals, possibly workers, stand nearby, their gazes directed toward the cotton gin. The ground is littered with fluff, likely remnants of processed cotton. In the background, tall trees stretch towards the sky, their leafy branches creating a natural roof over the scene.

CREDIT: National Museum of African American History and Culture

DESCRIBING: A historical sepia photograph depicting an agricultural scene.

SYNOPSIS: Men in 19th century attire are shown interacting with farm equipment outside wooden homes.

IN-DEPTH DESCRIPTION: The sepia toned photograph presents an outdoor agricultural scene likely set in the 19th century. Central to the image is a man actively using a scale involving a large basket. He stands with a hat and rolled up sleeves, focused on his task. Two other men, seated adjacent to him, appear to be taking a break or waiting their turn, with relaxed postures. Off to the side, another man stands with a similar hat, observing the scene or posing for the photograph. These men are positioned between rough wooden cabins and partially obscured by an expansive tree canopy, which adds a sense of serenity and continuity to the surroundings.

CREDIT: National Museum of African American History and Culture

During Reconstruction, formerly enslaved people began working for themselves and their families on abandoned and confiscated lands across the Sea Islands. Thriving communities began to emerge around the old plantations. With their earnings, workers bought property, paid taxes, and invested back in their communities.

One such community was Mitchelville, on Hilton Head Island. Established in 1862, Mitchelville was one of the first self-governed Black communities in the south. Its residents earned wages working for the Treasury Department and the military. With their freedom, residents of Mitchelville started schools, churches, and businesses to support their community.

DESCRIBING: A sepia toned historical photograph.

SYNOPSIS: In this sepia toned image, a large group of people are gathered in front of a wooden house. The group includes men, women, and children, dressed in a mix of formal and work attire. The presence of trees and additional structures suggests a rural setting.

IN-DEPTH DESCRIPTION: The photograph reveals about 30 people, spanning various ages. The women and children, positioned at the front and sitting on the ground, are clad in simple dresses and head wraps. Children’s expressions vary, some appearing curious or neutral, while others face away. Standing behind them, men in an assortment of attire—from formal coats to workmen's shirts and hats—present a broad representation of different roles. An older wooden structure with a pitched roof captures attention at the photograph's center. To the structure's left and right, partial views of other buildings emerge, surrounded by scattered trees that add depth to the rural setting. A closer look shows tools and possibly farming equipment near the buildings, indicating a working environment.

CAPTION: During the Port Royal Experiment, the Treasury Department paid formerly enslaved people wages to work on the plantations across the Sea Islands.

CREDIT: Library of Congress

Outside of the Sea Islands, sharecropping became prevalent. Tenant farmers worked landowners' plots in exchange for a share of the crops. This provided access to land, but often trapped farmers in a cycle of debt. Sharecropping furthered the United States’ economic gap between the rich and the poor into the 20th century.

Questions around access to fair wages, land, and education led to the creation of the Bureau of Refugees, Freedmen, and Abandoned Lands in 1865. Commonly known as the Freedman's Bureau, it supported formerly enslaved people. The Bureau helped reunite families, provided necessities, and set up courts and law enforcement.

Despite being underfunded, Bureau agents faced the huge task of reviving local economies while ensuring the rights of freed people were respected. These struggles for fair labor practices laid the groundwork for future battles.

DESCRIBING: A sepia toned photograph from the 19th century.

SYNOPSIS: The image captures a group of nine people of various ages standing outdoors on what appears to be a farm. Two pigs forage in the foreground, and several buildings and trees are visible in the background.

IN-DEPTH DESCRIPTION: The central focus of the photograph is a group of nine individuals standing in a line, facing the camera. They range from young children to elderly adults. Most are wearing aprons or work clothes, indicating that they might be engaged in farm work or domestic activities. On the far left, a man in a hat and suit stands erect, followed by several women and men in work attire. The background includes leafless trees and a few wooden structures, one of which has a ladder leaning against its side. The ground appears to be covered with a mix of dirt and straw, and two pigs are visible, snuffling around in the foreground.

CAPTION: Farmers who were unable to buy farmland were often forced into sharecropping, such as this family in the 1880s.

CREDIT: National Museum of African American History and Culture

DESCRIBING: A historical sepia toned photograph.

SYNOPSIS: This image shows a group of individuals, mostly women and children, positioned in front of a large haystack. The composition and clothing styles indicate a historical period, possibly related to agricultural labor. The backdrop appears to be a faded map or sketch, adding a layer of historical depth.

IN-DEPTH DESCRIPTION: The photograph's central focus is on the women, who are dressed in simple, practical clothing typical of rural life. The dresses vary in pattern, with some showing checks while others are plain. The women’s expressions suggest different moods, from determination to calmness, reflecting their possible roles or perspectives on their situation.

Among the group, children are standing and sitting, contributing to the layered composition of the image. The rice stack behind them, coupled with the ground covered in rice stalks, indicates their involvement in farming activities. The sepia tone of the image enhances the aged, historical quality of the photograph.

The illustration in the background, seemingly a map, connects the photograph to a geographical or historical context, suggesting a narrative beyond the visual. This dual layered visual prompts a distinction between the people's immediate environment and a broader historical perspective.

CREDIT: National Museum of African American History and Culture

From the front desk turn back towards the front entrance and walk a short distance towards the door then turn to the right and walk a short distance along the left side of the building forward. The panel will be in front of you on the side wall of the visitor center. This panel is past the “Lay of the Land” panel and can be access by walking around the left side of the “Lay of the Land” panel. Connected to this panel on the left is the “Free Labor” panel. These two panels “Free Labor” and “We wish…” create a corner. 

DESCRIBING: An eight foot tall exhibit panel utilizing text, images, and maps to depict historical Black land ownership in the Sea Islands post Civil War.

SYNOPSIS: The panel presents an overview of how Black communities in the Sea Islands gained land ownership, featuring the Gullah Geechee Corridor and the Hutchinson family’s legacy.

IN-DEPTH DESCRIPTION: At the top, a sepia toned field is overlaid with a powerful blue quote from freedmen on Edisto Island, highlighting their desire for land. To the right of the quote is a simple illustration of a small house. Below, the text discusses the significance of land for Black culture, dreams, and independence.

The panel explains tax auctions enabling Black land ownership, visually supported by a photograph of one such auction. It proceeds with the Gullah Geechee Corridor's significance, using a map to delineate the area and highlight congressional recognition of its cultural value.

The focus shifts to the Hutchinson family, detailing Jim Hutchinson's efforts in communal land purchase and his murder in 1885. Pictures of Jim’s descendants and the modern Hutchinson House complement the narrative, illustrating both historical struggle and resilience.

For Black people, land was more than just soil—it was the heart of culture, dreams, and independence.

On the Sea Islands around Beaufort, formerly enslaved people were able to buy abandoned land. Land could be purchased at a series of tax auctions that began in 1863 and continued after the Civil War.

These tax auctions allowed people to purchase land previously owned by white plantation owners. The previous owners fled after the Battle of Port Royal and became delinquent on their taxes.

Land ownership increased opportunities for Black residents on the Sea Islands. Today, many Gullah Geechee people still live and work on lands their ancestors purchased during the Civil War.

DESCRIBING: A landscape sepia toned historical photograph.

SYNOPSIS: The image captures a large group of people gathered outside of a building, for a tax auction of land. The crowd is dense, with individuals dressed in clothing typical of the 19th century. The backdrop is a two story brick building with several windows.

IN-DEPTH DESCRIPTION: This sepia toned historical photograph showcases a vast assembly of individuals outside a two story brick building. The crowd is clustered tightly, comprising men dressed in 19th century garb including hats and coats. In the background, the sturdy brick building features multiple windows with shutters, some open and others closed. On the steps leading up to the building’s entrance, a few individuals address the crowd to begin the tax auction. The mood appears to be one of anticipation or focus on the tax auction.

CAPTION: Formerly enslaved people purchased property at government auctions, such as this one that took place at the Thomas Law Building on Bay Street in Beaufort in 1865.

CREDIT: Huntington Digital Library

DESCRIBING: A color map with detailed text and highlighted regions.

SYNOPSIS: This image includes a color map of the southeastern United States with an overlaid explanation of the Gullah Geechee Corridor. The text provides historical insight linking Special Order No. 15 and the Congressional designation of the Corridor in 2006.

IN-DEPTH DESCRIPTION: The map centers on the southeastern United States, showing the coastal regions of North Carolina, South Carolina, Georgia, and Florida. A prominent blue line traces the Gullah Geechee Corridor along these coasts. The title "Gullah Geechee Corridor" appears in bold blue letters. To the right is a text block explaining the relation of the corridor to special order no. 15.

CAPTION: Special Order No. 15 promised 40 acres of land to Black families on the coasts of Florida, Georgia, South Carolina, and North Carolina. Most people never got the land. In 2006, Congress designated the Gullah Geechee Cultural Heritage Corridor. The Corridor's boundary mirrors that of Special Order No. 15.

CREDIT: National Park Service

In the 1870s, James “Jim” Hutchinson led efforts for the Black community to collectively buy land on nearby Edisto Island. He was involved in Republican party politics in the region and was a well-respected community leader.

On July 4, 1885, Jim Hutchinson was murdered by a white man from a neighboring island who was eventually acquitted by an all white jury.

Jim’s son Henry was a prominent Sea Island cotton farmer and businessman until the boll weevil destroyed the Sea Island Cotton Industry in the 1920s. Henry built the Hutchinson House, in around 1885, for his family who continued to reside there until the 1980s. The Hutchinson story exemplifies how land equaled power in the south, allowing Black individuals to elevate their status and influence.

DESCRIBING: An oval sepia portrait photograph.

SYNOPSIS: An oval shaped sepia toned photograph displays a formal portrait of Jim Hutchinson. The background is indistinct, ensuring the man's features and attire are in focus.

IN-DEPTH DESCRIPTION: The image captures, Jim Hutchinson, a man with a round face and short hair, dressed in a dark suit, white shirt, and tie. His expression is neutral, and he has a slight mustache. The indistinct background and sepia tone draw attention to his formal appearance, common in early 20th century portraits.

Caption: James "Jim" Hutchinson of Edisto Island was a veteran, entrepreneur, and politician.

Credit: Greg Estevez

DESCRIBING: An old sepia colored photograph with three formally dressed individuals.

SYNOPSIS: The image portrays Henry Hutchinson, an older man seated between his young sons, Henry Jr. and John, standing close to him. Their formal attire and serious expressions suggest this photograph was taken for a memorable occasion.

IN-DEPTH DESCRIPTION: Henry Hutchinson, the older man is seated in the middle, wearing a dark suit with a bow tie. The suit is well fitted, highlighting his upright, proud posture. On either side, two children, Henry Jr. and John, stand in matching outfits—short trousers, button down jackets, and prominent bows around the neck. Their hair is neatly parted, and their expressions are earnest and reflective of the occasion. The photograph's sepia tones and visible aging—showcased by various marks and fading—imbue it with a sense of history and endurance.

CAPTION: Henry Hutchinson with his sons, Henry Jr. and John, in 1910.

CREDIT: Greg Estevez

DESCRIBING: A sepia toned photograph of an elevated house, surrounded by trees and greenery.

SYNOPSIS: The image depicts the Hutchinson House, a small house elevated on brick piers in a wooded area. The house features a metal roof with three dormer windows and a set of stairs leading to the front door.

IN-DEPTH DESCRIPTION: The wooden house has horizontal siding and is painted a dark color, though not pictured here the house is a dark green. It stands about five feet off the ground on brick piers, with a white staircase leading up to the front door. There are four windows on the front side of the house and two doors. The metal roof has three dormer windows that protrude outward, each with paned glass. Surrounding the house are tall leafy trees, providing a natural background.

CREDIT: Edisto Open Land Trust

From the front desk turn back towards the front entrance and walk a short distance towards the door then turn to the right and walk a short distance along the left side of the building forward. Then turn around and walk a very short distance. The panel will be at your right. This panel is on the back side of the “Lay of the Land” panel and can be access by walking around the left side of the “Lay of the Land” panel. Connected to this panel on the left is the “True Knowledge unfits a man to be a slave” panel. These two panels “Fertile Soil, Fertile Minds” and “True Knowledge…” create an L shape. 

DESCRIBING: A six foot tall exhibit panel about the Penn School.

SYNOPSIS: An exhibit panel portraying the Penn School's role in providing education to freed Black individuals post Civil War. It features period photographs, text blocks discussing the school's history, and a collage of significant educators and students.

IN-DEPTH DESCRIPTION: The top section showcases bold blue text reading, "Fertile Soil, Fertile Minds," set against an aged parchment background with a map subtly overlaid. Below it, on the left, a black and white photograph of Brick Baptist Church includes the caption, “Brick Baptist Church was home to Penn School from 1862 1865.” Adjacent to this image, a block of text describes how education became a beacon of hope for freed Black people during Reconstruction.

Following this, the middle section titled "Penn School" in blue text continues the narrative. It details the school's founding in 1862 by Laura Towne and Ellen Murray at Oaks Plantation and its eventual move to Brick Baptist Church. The section includes two other images: one of the Penn School constructed around 1900, and a group photograph of students with Ellen Murray, all in sepia tones. Captions for these photographs provide additional context.

At the bottom, a composite image features Charlotte Forten, Laura Towne, Ellen Murray, and two Black students. Their historical importance in the Penn School’s legacy is underscored, with captions providing identification. The backdrop of an old document map reinforces the historical theme of the exhibit panel.

During Reconstruction, education was a beacon of hope for newly freed Black people. Institutions like the Penn School on St. Helena Island provided skills and knowledge. This knowledge was necessary for freed people to thrive and advocate for their rights.

DESCRIBING: A sepia tone photograph of a historical building.

SYNOPSIS: This photograph showcases a brick building, bathed in dappled sunlight, surrounded by large, majestic trees. Several individuals, mostly children, are scattered around the open space in front of the building, engaging in different activities.

IN-DEPTH DESCRIPTION: The dominant feature of this sepia tone photograph is a large, two story brick building which stands in the background. The building is characterized by tall, narrow windows and a gabled roof. The weathered façade suggests a structure with history and charm. In the foreground, a group of children and a few adults are dispersed across a wide, shaded area beneath the sprawling branches of a large tree draped with Spanish moss. The children appear to be playing, some standing in small groups while others seem to be more engrossed in their activities, capturing a moment of communal interaction under a serene, sunlit canopy.

CAPTION: Brick Baptist Church was home to Penn School from 1862 to 1865. Today this is an active congregation and the grounds are preserved by Reconstruction Era National Historical Park.

CREDIT: Library of Congress

In the Spring of 1862, teachers poured into the Sea Islands and established schools. In June, Laura Towne and Ellen Murray started a school at Oaks Plantation. They began with nine scholars, but enrollment quickly grew. That fall, they moved their school to Brick Baptist Church, and became known as Penn School. At this time, Charlotte Forten started teaching at Penn School. She was the first Black educator in Beaufort County.

Schools for formerly enslaved people were very important during Reconstruction. Learning to read, write, and do basic math allowed people to read contracts, own businesses, and purchase property. The pioneers of the Penn School laid the educational groundwork for the future of St. Helena Island and beyond. Today the campus functions as the Penn Center and is a space of learning, preservation, and community.

DESCRIBING: A vintage, sepia toned photograph of a large group of people standing in front of a small wooden building.

SYNOPSIS: The photograph depicts a crowd of people gathered outside a wooden building with a small bell tower. The dense forest behind the building and the open field in the foreground frame the scene.

IN-DEPTH DESCRIPTION: The image portrays a single story wooden building, likely a schoolhouse or community center, with a small bell tower above the entrance. The building is flanked by tall trees, creating a rustic, rural backdrop. Surrounding the building, an expansive group of people spans the width of the photograph. Their attire suggests the 19th century; men in suits, women in dresses, and children neatly dressed. The image seems to capture a pivotal moment in community life, possibly the opening of the school or another significant event.

CAPTION: Abolitionists had this school house constructed at Penn School. This was the primary classroom until around 1900.

CREDIT: Library of Congress

DESCRIBING: A sepia toned photograph from the late 19th or early 20th century.

SYNOPSIS: A sizable assembly of African American children and adults stands in front of two wooden, rural buildings. Everyone is dressed in period clothing, and they pose for the camera in a neatly arranged formation.

IN-DEPTH DESCRIPTION: The group stands in neat rows. The central focus is on the children, who are dressed in various formal clothes, many holding school hats. To the left, an older woman in a long dress stands apart from the main group, suggesting a possible caretaker or educator role. The larger building behind the group shows signs of wear, indicative of frequent use, and has multiple windows and a visible door. The smaller building to the left appears simpler, with only one visible door, surrounded by trees. The composition of the photograph is orderly, reflecting perhaps a school or community event, with an emphasis on unity and collective identity against a backdrop of rustic simplicity.

CAPTION: Penn School lasted for generations beyond the Civil War. Above is Ellen Murray with her students in the early 1900s.

CREDIT: Penn Center Collections, UNC

DESCRIBING: A sepia toned photograph.

DESCRIPTION: The photograph shows an image of a woman named Charlotte Forten. In the foreground, she appears in formal attire, looking directly at the camera. The background presents her profile, slightly faded, with what appears to be historical documents or maps.

IN-DEPTH DESCRIPTION: The sepia toned photograph is an image of Charlotte Forten, revealed by the name scripted at the top of the image. In the foreground, Charlotte wears a high necked, long sleeved dress with puffed shoulders, indicative of 19th century fashion. Her hair is worn back, possibly in a bun, and she holds a book tightly against her body, suggesting her intellectual or scholarly interests. Behind her, faint imprints of handwritten text or maps add a layer of historical context, hinting at either personal or historical significance.

DESCRIBING: A sepia toned 19th century portrait photograph.

SYNOPSIS: A historical portrait of a woman, Ellen Murray, from the Penn Center Collection. She dons period attire indicative of the 19th century and has an elaborate hairstyle. This image captures her in profile, offering a view of her face and upper body adorned in lace details.

IN-DEPTH DESCRIPTION: The photograph is presented in sepia tones, a common practice in historical imagery to preserve photographs over time. Ellen Murray is shown in a side profile, her wavy hair meticulously styled down to her shoulders. The facial features are soft yet defined, with a serene expression that signifies perhaps a quiet confidence or contemplation. Her clothing is characterized by an ornate lace collar, indicative of the fashion of the era, suggesting a certain social status or formality.

DESCRIBING: A sepia toned photograph from the 19th century.

SYNOPSIS: This photograph captures a group scene involving an adult, Laura Towne, and three children. The figures' attire and the overall tone of the image suggest a historical setting, possibly educational or familial in nature.

IN-DEPTH DESCRIPTION: Seated on the left, Laura Towne holds an open book and seems focused on imparting knowledge. Her dress is dark and formal, indicative of the time period's fashion. Behind her, a serious looking boy in a dark suit stands, his attention fixed on the book. To the right, two girls in simple, patterned dresses listen. One girl, standing directly beside the woman, appears engaged and curious. The other girl, with a headband, stands slightly apart but is still part of the group's activity. A faded backdrop adds an olden visual texture, reinforcing the time period.

From the front desk turn back towards the front entrance and walk a short distance towards the door then turn to the right and walk along the left side of the building. Then turn around and walk a very short distance. The panel will be at your left. This panel is on the back side of the “A Looming Crisis” panel and can be access by walking around the left side of the “Lay of the Land” panel. Connected to this panel on the right is the “Fertile Soil, Fertile Minds” panel. These two panels “Fertile Soil, Fertile Minds” and “True Knowledge…” create an L shape. 

DESCRIBING: A vertical 6 foot tall exhibit panel juxtaposing historical imagery and text.

SYNOPSIS: This visually illustration highlights Historically Black Colleges and Universities from the Reconstruction era, set against a subtly included map like background with layered images and notable quotes.

IN-DEPTH DESCRIPTION: A 6 foot tall exhibit panel with text overlaid on a historic tax map with a historic image. At the top, a bold quote reads: "True knowledge unfits a man to be a slave," attributed to Frederick Douglass, 1850, in striking blue letters. The text below describes the establishment and historical significance of Historically Black Colleges and Universities, such as Howard University, founded in 1867, and Spelman College in 1881. These institutions significantly influenced social and political developments in Black communities. The middle section, headed "Higher Education," discusses Morehouse College in the context of higher learning, featuring prominent alumni like Dr. Martin Luther King, Jr. and literary contributions by Lerone Bennett, Jr. An inset photo displays Hampton University students engaged in a science class from the early 20th century. The adjacent text elaborates on the contributions of Historically Black College and University alumni Thurgood Marshall. The bottom of the illustration showcases a historical photograph of a substantial crowd before the grand edifice of Claflin University, drawing attention to the institution’s architectural grandeur and community importance.

Perhaps the most successful legacy of Reconstruction is education. Many of the nation's Historically Black Colleges and Universities (HBCUs) were established during this time period - including Howard University (1867), Hampton University (1868), Claflin University (1869), Bennett College (1873), and Spelman College (1881). Historically Black Colleges and Universities continue to play a significant role in the social and political landscape of the country.

One example of a Reconstruction era Historically Black College and University making its mark on our modern world is Morehouse College in Atlanta, Georgia. Originally established in Augusta in 1867, Morehouse claims Dr. Martin Luther King, Jr. as one of its most notable alumni.

Another Morehouse alum, Lerone Bennett, Jr. wrote one of the most influential histories of Reconstruction, Black Power USA: The Human Side of Reconstruction 1867 to 1877.

Historically Black College and University alumni knew the value of education. In 1954, Thurgood Marshall, a Howard University alum, argued before the Supreme Court that segregated schools were unconstitutional. The landmark Brown v. Board of Education case ruled that racial segregation in public spaces violated the 14th Amendment. Marshall later became the first Black Supreme Court Justice.

DESCRIBING: A sepia toned classroom photograph from the early 20th century.

SYNOPSIS: In this sepia toned photograph, a science lesson is underway in a formally arranged classroom, with students seated at individual wooden desks.

IN-DEPTH DESCRIPTION: The photograph portrays a formal and orderly classroom typical of the early 20th century. Rows of wooden desks are arranged with precision, each desk occupied by a student dressed in a suit, a testament to the era's strict dress codes. The teacher, standing beside a large wooden table cluttered with scientific equipment, holds a piece of apparatus, possibly explaining its function to the attentive students. Behind the teacher, blackboards are filled with mathematical equations and diagrams, indicating a focus on scientific education. Large windows mounted high on the walls allow natural light to flood the room, adding a sense of openness that contrasts with the strict arrangement of furniture. The overall atmosphere is one of disciplined learning and academic focus.

CAPTION: Pictured here are Hampton University students in a science class. In the 1900s, many Penn School students attended Hampton University, and Hampton alumni joined the faculty at Penn School.

CREDIT: Library of Congress

DESCRIBING: A sepia toned rectangular photograph.

SYNOPSIS: The photograph captures a grand brick building with two towering spires, with a semi circular assembly of formally dressed individuals in the foreground.

IN-DEPTH DESCRIPTION: Dominating the photograph is a grand brick building featuring twin spires, each ascended by sharp, steepled rooftops. The left spire is marked by a prominent clock, contrasting with the right spire's large, paneled windows below its steeple. Uniformly spaced windows and a majestic arched entryway adorn the building’s façade. In front of this striking structure, a large crowd stands in a semi circular formation, indicating a momentous occasion. Individuals are dressed in period appropriate formal wear; men in suits with hats, women in long dresses, and children in modest or uniform like attire. Grand trees, including an oak and a magnolia, occupy the center of the crowd, acting as the photograph’s visual anchor. The sepia toning lends the image a timeless, historic quality, indicative of an era from the late 19th to early 20th century.

CREDIT: Library of Congress

From the front desk turn back towards the front entrance and walk a short distance towards the door then turn to the right and walk a short distance towards the side of the building. Then turn to the right and walk a short distance. Be careful of a metal structural pole in the front left corner of the object case. Turn to the left and the panel and object case will be in front of you. This panel is on the side wall of the visitor center. The closes panel is “True Knowledge…” which sits behind you and a short distance to the right. Object Case 1 is in front of the panel, the case is two feet deep by 4 feet wide and about hip height.

DESCRIBING: An eight foot tall exhibit panel including photographs and text about Black soldiers during the American Civil War.

SYNOPSIS: An exhibit highlighting the contributions of Black soldiers during the Civil War. It features a prominent quote from Frederick Douglass, historical photographs, and descriptive text.

IN-DEPTH DESCRIPTION: The poster captivates with a top anchored quote from Frederick Douglass in bold blue letters: "...There is no power on earth that can deny that he has earned the right to citizenship." Beside it, a drawing of a ballot box emphasizes the theme of civic rights and citizenship. Behind the quote is a historical image of the 1st South Carolina Volunteers.

Underneath, the image of Prince Rivers and Robert Sutton presenting the American flag during the Emancipation Day celebration adds a poignant visual, highlighting their dignified stance. The text beside it details the timeline of Black military involvement, starting from May 1862 with the formation of the 1st South Carolina Volunteers to their eventual reformation as the 33rd United States Colored Troops.

The narrative spotlights the broader impact of Black soldiers in the Civil War, culminating in the description of the Combahee River Raid led by Harriet Tubman. The section details the 2nd South Carolina Volunteers courageous actions and the liberation of over 700 enslaved individuals.

Beside the text is a circular inset depicts William Morrison, providing a personal connection and deeper context to the narrative of the 2nd South Carolina Volunteers.

At the very bottom, a sepia toned photograph portrays a diagonal line of sixteen Black soldiers in uniform, holding rifles, portraying the dignity and readiness of these men.

DESCRIBING: A historical sepia photograph depicting a military scene.

SYNOPSIS: The photograph features the 1st South Carolina Volunteers in a military formation, set against a backdrop of three large, leafless trees and visible tents. To the right side is a sparse collection of buildings.

IN-DEPTH DESCRIPTION: In the center of the photograph, a regiment of soldiers from the 1st South Carolina Volunteers stand in tightly organized rows, facing the camera. They wear civil war U.S. military uniforms and stand at attention at the parade grounds. Behind them, three barren trees, devoid of leaves, add to the somber and serious atmosphere. Several tents are pitched under the trees, suggestive of a makeshift camp. To the far right, a cluster of buildings from downtown Beaufort can be seen in the distance.

CREDIT: Library of Congress

Prior to the Civil War, the government did not allow Black men to join the US Army. That began to change in Beaufort County.

In May of 1862, the Army organized the first Black regiment on Hilton Head. By fall, the 1st South Carolina Volunteers opened a recruiting and training camp called Camp Saxton on Port Royal Island. The regiment was later renamed the 33rd United States Colored Troops, and their work paved the way for widespread Black military service.

By the end of the Civil War, approximately 200,000 Black men served in the US Armed Forces. Their service was the foundation for postwar discussions about what it means to be an American citizen.

DESCRIBING: A detailed 19th century engraving of a historical event.

SYNOPSIS: This engraving captures the reading of the Emancipation Proclamation at Camp Saxton with Black figures prominently featured. Center stage are two flag bearers, one gesturing passionately, surrounded by a cheering crowd and backdrop of American flags.

IN-DEPTH DESCRIPTION: At the illustration's center, two Black men stand tall wearing U.S. military uniforms, both hold a partially unfurled American flag. The man in the very center of the image holds the flag in his left hand while his right arm is raised. The crowd, mostly of Black individuals, reacts exuberantly with raised hands or hats. To his left, another person is seen playing a trumpet, contributing to the lively environment. Behind the central figure, a group of seated men and women observe the proceedings. The substantial American flag draped behind them adds a patriotic tone, with trees enveloping the scene, indicating an outdoor assembly under the live oak trees at Camp Saxton.

CAPTION: Prince Rivers and Robert Sutton were presented flags during the Emancipation Day celebration at Camp Saxton on January 1, 1863.

CREDIT: Library of Congress

On the night of June 1, 1863, military forces, including the Black soldiers of the 2nd South Carolina Volunteers, departed Beaufort by boat for the Combahee River. Their mission was to liberate people and destroy rice plantations supporting the Confederates.

Helping to lead the expedition was Harriet Tubman, the famed conductor on the Underground Railroad. When they returned to Beaufort the next day, they brought more than 700 people to freedom. Tubman gave a speech at nearby Tabernacle Baptist Church, and more than 150 of the men joined the army.

DESCRIBING: An oval sepia toned illustration of a man standing with his hand on his hip.

SYNOPSIS: The illustration features a distinguished historical figure, William Morrison, dressed in mid 19th century attire. Morrison stands with a confident posture, hands on hips, conveying a sense of prominence and authority.

IN-DEPTH DESCRIPTION: The ink illustration showcases William Morrison with dark, wavy hair and a carefully styled mustache and goatee. He is portrayed wearing a finely detailed two piece suit with a bow tie and a meticulously buttoned shirt. The coat drapes slightly open, revealing the vest underneath. Morrison's stance, with hands on hips, conveys an air of assurance and respectability. His expression, showcasing a hint of a smile, suggests a calm confidence.

CAPTION: William Morrison served in the 2nd South Carolina Volunteers and participated in the Combahee Raid. After the war, he represented Beaufort in the South Carolina legislature.

CREDIT: Library of Congress

DESCRIBING: A sepia toned photograph from the Civil War period.

SYNOPSIS: A group of Black soldiers from the 4th United States Colored Troop in U.S. Military uniforms stand in two close, straight lines. They hold rifles vertically by their sides and face the camera directly.

IN-DEPTH DESCRIPTION: This sepia toned photograph captures sixteen Black soldiers, from the 4th United States Colored Troop, standing shoulder to shoulder in two precise, disciplined rows. Each soldier is dressed in a dark, wool uniform complete with a kepi hat adorned with an insignia. They grip their long barreled rifles upright with both hands, demonstrating readiness and alertness. The men's expressions are determined and solemn, reflecting the seriousness of their role. The soldiers stand on a dirt ground, suggesting an encampment.

CREDIT: Library of Congress

DESCRIBING: A color view of a wooden historical artifact display.

SYNOPSIS: The exhibit features meticulously selected objects showcasing 19th century African American experiences. Items include a folded military uniform, a cotton hoe, raw cotton, a photo of Harriet Tubman, and early educational tools. Each object is paired with a detailed label.

IN-DEPTH DESCRIPTION: The exhibit's central attraction is a dark blue uniform from the 1st South Carolina Volunteers, characterized by its brass buttons and chevron sleeve stripes. Nearby, sample bolls of Sea Island Cotton are displayed beside a traditional cotton hoe, indicating the agriculture of the time. Below, a sepia-toned photograph of Harriet Tubman is prominently displayed, honoring her contributions. A miniature blackboard with "ABC 123" written in chalk symbolizes the beginnings of education in the post Civil War era. Each item is accompanied by labels that offer deeper historical context, such as the role of Sea Island Cotton in plantation economics, Tubman's legacy, and the development of education for Black Americans during Reconstruction.

DESCRIBING: A display featuring cotton bolls and historical text

SYNOPSIS: The display case has some picked, dried cotton bolls laid out next to each other. A piece of text accompanies them, providing historical context regarding Sea Island Cotton and its role in plantation economics.

IN-DEPTH DESCRIPTION: The display features three distinct cotton bolls with white, fluffy fibers extending from the brown husks. The bolls are linked by thin, brown twigs. Above these natural elements rests a wooden handle, worn and aged, suggesting it could be part of historical tools used for cotton cultivation. The wooden elements of the handle and the light wooden background contribute to an educational tableau.

Prominently featured below is a placard. The header in blue, bold text reads "Sea Island Cotton," followed by an explanation. The text provides a brief yet critical perspective on the economic and ethical implications of cotton farming during historical periods.

CAPTION: Sea Island Cotton made plantation owners wealthy at the expense of the people they enslaved. During Reconstruction, sea island cotton was less profitable.

CREDIT: Hutchinson House, Edisto Open Land Trust

DESCRIBING: A chalk board, chalk, and schoolbook.

SYNOPSIS: The display has a small chalk board with elementary letters and numbers written on it, placed over an antique schoolbook. Below this set up, a text panel explains the historical significance of these educational tools during the Reconstruction era.

IN-DEPTH DESCRIPTION: The items in the case are a light wooden framed chalkboard, approximately the size of a tablet, showing "A B C" and "one two three" written in white chalk. The smooth, dark surface of the chalk board contrasts with its wooden frame. This chalk board rests on an older, ornately decorated schoolbook, whose cover features intricate designs and lettering, including the words "Common School" visible around the edges. Two pieces of chalk, both well used, are placed on the wooden surface beneath the chalk board.

CAPTION: During Reconstruction, Black Americans finally got access to schools. Missionaries came to the south to teach using tools such as slate and chalk.

CREDIT: National Park Service

DESCRIBING: An agricultural tool

SYNOPSIS: A farming tool with a wooden handle and a cotton branch are displayed on a polished wooden surface, accompanied by informational placards.

IN-DEPTH DESCRIPTION: Centered in the exhibit is a worn wooden handle attached to a sharp metal blade, indicative of its use in agriculture. Just beneath the tool lies a dried cotton branch, its brown pods splitting open to reveal the white, fluffy cotton. The surrounding area is part of a well lit museum display. Two placards provide context; one labeled "Tools of the Trade" explains the usage of such tools in cultivating Sea Island cotton. The other, titled "Sea Island Cotton," reflects on the economic impact of this cotton on plantation owners and its diminished returns post Reconstruction.

CAPTION: Newly freed people cultivated the rich soil of the Sea Islands to grow not only crops, but new livelihoods for future generations.

CREDIT: National Park Service

DESCRIBING: A sepia toned photograph of Harriet Tubman.

SYNOPSIS: The photograph presents a lone woman in a formal pose. She exhibits strong, composed features and is dressed in a combination of dark and light fabrics typical of the era. The setting appears modest, with the focus solely on the subject.

IN-DEPTH DESCRIPTION: In this vintage photograph framed by a delicate red border, Harriet Tubman sits in a formal pose. Her dress consists of a dark, long sleeved blouse adorned with a white collar and bowtie, paired with a light colored, checkered skirt that reaches the floor. She places her right arm along the backrest of a simple wooden chair and rests her left hand softly on her lap. Her dark hair, parted in the middle, is neatly pulled back. The plain backdrop emphasizes her composed demeanor. She gazes directly into the camera with an expression that conveys resilience and strength. The photograph's red border adds a vintage charm while highlighting its historical context.

CAPTION: Tubman got the nickname ‘General Tubman’ from her role on the Combahee River Raid. A statue is dedicated to her at Tabernacle Baptist Church in Beaufort, SC.

CREDIT: Library of Congress

DESCRIBING: A folded navy blue military jacket.

SYNOPSIS: A neatly folded navy blue military jacket with a quilted inner lining and metallic buttons is depicted in this photograph. The collar is turned up, revealing the vibrant plaid lining, while a sergeant's chevron is visible on the sleeve.

IN-DEPTH DESCRIPTION: The historical military jacket is neatly folded and placed within a wooden and glass display case. The jacket is crafted from a deep navy blue woolen fabric, which appears slightly worn and weathered. Three metallic buttons line the front, with the top two fully visible. The raised collar reveals a meticulously maintained lining with a vibrant plaid pattern in shades of yellow, orange, and red. On the sleeve, an insignia composed of light blue chevrons indicates a sergeant rank, adding a touch of historical significance.

CAPTION: Putting on this uniform was more than just a symbol of service. For the 1st South Carolina Volunteers, it was a symbol of citizenship.

CREDIT: National Park Service

From the front desk turn back towards the front entrance and walk a short distance towards the door then turn to the right and walk along the left side of the building. Then turn to the right and walk a short distance. Be careful of a metal structural pole in the front left corner of the object case in front of the panel “There is no power…”. Turn to the right after passing the edge of the L shaped panel. Turn to the right to face the panel. This panel is on the back side of the “True Knowledge” panel and can be access by walking around the right side of the “Lay of the Land” panel. Connected to this panel on the left is the “Lay of the Land” panel. These two panels “A Looming Crisis” and “Lay of the Land” create the outside of the L shape.

DESCRIBING: A six foot tall panel with historical maps, photographs, and text highlighting U.S. policies before and after Abraham Lincoln's presidency.

SYNOPSIS: The poster, titled "A Looming Crisis," visually illustrates the escalating tensions leading up to the American Civil War and the differences between Abraham Lincoln's and President Andrew Johnson's approach to Reconstruction and Lincoln’s policy to give freedom to enslaved individuals and the integration of free people into American society. Key historical maps and photographs are displayed to support the narrative.

IN-DEPTH DESCRIPTION: Viewers are looking at a 6-foot-tall exhibit panel with text overlaid on a historic tax map with a historic image. The title, "A Looming Crisis," is prominently displayed at the top in bold blue letters. Below it, the section "Pre-War Tensions" discusses how slavery influenced American growth, detailing legislative efforts like the Missouri Compromise and the Kansas-Nebraska Act to manage tensions. A color map on the left shows the percentage of the enslaved population in southern counties by 1860, with emphasis on Beaufort County, sourced from the Library of Congress. The section "Lincoln’s Vision vs. Johnson’s Actions" begins further down, outlining Lincoln’s rise as an anti-slavery leader, his Emancipation Proclamation, and his vision for Reconstruction. Adjacent is a photograph of Lincoln at his desk. The text proceeds to describe how Lincoln's assassination handed the Reconstruction efforts to President Johnson, whose policies diverged significantly from Lincoln’s vision.

Slavery shaped American economics, politics, and growth, since the nation's founding. As the country grew in size and Americans moved west, the question arose: would these new territories permit slavery?

Politicians attempted to solve this with the Missouri Compromise of 1820, the Compromise of 1850, and the Kansas-Nebraska Act. Despite these new measures, tensions continued to escalate.

DESCRIBING: An antique map from 1861 titled "Map Showing the Distribution of the Slave Population of the Southern States of the United States."

SYNOPSIS: This 1861 map illustrates a distribution of the enslaved population across the Southern United States as per the 1860 census. The antiquated map displays the prevalence of slavery across the Southern states. The darker shaded counties reflect variations in the percentage of enslaved individuals.

IN-DEPTH DESCRIPTION: The illustration spans twelve states, emphasizing that Texas, Arkansas, Louisiana, Mississippi, Alabama, Georgia, North Carolina, South Carolina, Virginia, Tennessee, Kentucky, and Florida are segmented into counties. Each county is shaded into one of five gradients of grey to black, indicating the enslaved population’s percentage, with deeper tones signifying higher concentrations. Compiled from the 1860 Census, this map is a tangible representation of the socioeconomic landscape preceding the American Civil War.

CAPTION: By 1860, enslaved people made up a majority of the population in many counties. In Beaufort County, more than 80% of the population was enslaved - and it was higher than that on St. Helena Island.

CREDIT: Library of Congress

In the 1850s, the Republican Party emerged as an anti-slavery party. Abraham Lincoln won the Presidential election of 1860. In response, southern states seceded and formed the Confederate States of America. The next year, the Civil War began. Lincoln never considered secession to be legal. His position on this formed the legal basis for the tax auctions that took place in Beaufort in 1863.

Lincoln issued the Emancipation Proclamation on January 1, 1863. This order changed the direction of the war and set the stage for Reconstruction. Lincoln's vision was to rebuild southern states and integrate formerly enslaved people into society.

Lincoln's assassination in 1865 abruptly ended his vision, leaving the complex task of Reconstruction to President Andrew Johnson. Johnson, a former enslaver, did not support Black citizens' rights to education, voting, or land ownership. During Johnson's Presidency many former Confederates were pardoned and reclaimed their lands. The laws they passed forced people into sharecropping.

DESCRIBING: A vertical black and white engraving from the mid 19th century of President Abraham Lincoln.

SYNOPSIS: The engraving features Lincoln seated at a desk, dressed in formal 19th century attire. The setting includes a richly detailed background, with what appears to be a heavy drapery and an assortment of books and writing tools on the desk. The overall tone of the image exudes a sense of historical importance.

IN-DEPTH DESCRIPTION: The illustration captures a studious atmosphere, with the President Abraham Lincoln donned in formal attire, sitting at an intricately carved desk. His gaze is steady and thoughtful, directed toward the document in front of him. The desk itself, sturdy and filled with books, inkwells, and writing implements, amplifies the seriousness of the setting. To his left, an oversized curtain swoops down from the ceiling, adding dramatic flair and segmenting the space. The floor is finely tiled, reflecting the elegance of the room. His body posture conveys a balanced mix of pensiveness and authority.

CAPTION: The success of the Port Royal Experiment helped influence President Lincoln to issue the Emancipation Proclamation.

CREDIT: Library of Congress

There are two routes from the front desk one will take you directly to the panel and one will take you through the exhibit. To go directly from the desk to the panel turn to the left and walk about a medium distance towards the left side wall of the exhibit. Be aware of the metal structural pole in front of the “Lay of the Land” panel, the pole is a short distance in front of the center of the panel. Turn to the right after walking a medium distance into the exhibit space then walk a short distance forward. Turn to the left and walk a short distance towards the “Through the Lens” exhibit panel.

To go through the exhibit to reach this panel from the front desk turn back towards the front entrance and walk a short distance towards the door then turn to the right and walk a short distance towards the side of the building. Then turn to the right and walk a medium distance. Be careful of a metal structural pole in the front left corner of the object case in front of the panel “There is no power…”. Turn to the left and walk a short distance to face the panel. This panel is in front of a large arched window and is on the same wall as the “There is no power…” panel and “How did we…” panel.

DESCRIBING: An informational panel about Civil War era photography.

SYNOPSIS: This display panel invites viewers into the world of Civil War and Reconstruction era photography, emphasizing the real life context behind old pictures. It introduces the fascinating fact that many images from this period were captured using historic 3D technology.

IN-DEPTH DESCRIPTION: At the top, the title "Through the Lens" is prominently displayed in bold blue lettering. Below, a paragraph reminds viewers that historical images represent real people and places, and it introduces the concept of 3D photography from the Civil War era, suggesting the use of a stereoscope to view these images. The panel features a detailed map background with a pastel color scheme and various landmarks like trees and a ship at the bottom right. A sepia photograph of the Beaufort Arsenal is situated to the right with a caption detailing the arsenal’s construction in the 1790s and its later use by an all Black militia after the Civil War, citing the Library of Congress as the source.

When we look at old pictures, it's easy to forget that these were real people and places. Did you know that most Civil War era photography was shot in 3D? Use the stereoscope to explore Civil War and Reconstruction era Beaufort. Think about the world these people lived in and how much it changed because of what happened here.

DESCRIBING: A sepia toned historic photograph

SYNOPSIS: The image shows a group of individuals gathered in front of a large building with gothic style windows. Horses and a carriage are also seen in the foreground, which adds to the bustling yet paused moment captured.

IN-DEPTH DESCRIPTION: This sepia-toned photograph captures a scene likely from the 19th century. Several men in dark suits stand beside a horse drawn carriage. The trees on either side of the scene are bare, hinting it might be fall or winter. The large building behind them features tall, narrow windows with pointed arches, resembling gothic architecture. A scaffolding can be spotted on the right side, suggesting that construction or repairs might be underway. The men appear to be in a conversation or perhaps awaiting an event, giving the scene a feeling of anticipation.

CAPTION: The Beaufort Arsenal was built in the 1790s to store the town’s weapons. After the Civil War, it was home to an all Black militia who protected Beaufort.

CREDIT: Library of Congress

DESCRIBING: Antique Stereoscope

SYNOPSIS: A vintage optical viewing device with intricate wooden craftsmanship. This apparatus features a curved hood, two lenses, and a slot for viewing cards.

IN-DEPTH DESCRIPTION: The device is composed of finely polished dark wood, showing signs of age and use. It is elegantly curved with a wooden hood that arches over the front, designed ergonomically to fit comfortably on the user’s face and block external light. The hood has two square cutouts fitted with glass lenses, positioned to align with the human eyes, facilitating the stereoscopic effect.

You can pick up and feel the stereoscope and put the images in the holder. The stereoscope is located on the right side of the panel in a shallow box. The handle is made from wood and there is a leather piece to put your forehead into. Attached to the leather piece is a wooden oval with two magnifying glasses. These glasses help to make the image 3D through an optical illusion. From the wooden oval is a piece of wood sticking straight out. This piece of wood leads to a slot to add cards, this slot can be moved closer and further away from the wooden oval by a small handle at the bottom. The cards in the stereoscope have the same image printed twice to help create the optical illusion with the magnifying glasses, by moving the image back and forth the user can adjust it to their vision.

There are two routes from the front desk one will take you directly to the panel and one will take you through the exhibit. To go directly from the desk to the panel turn to the left and walk a short distance towards the left side wall of the exhibit. Be aware of the metal structural pole in front of the “Lay of the Land” panel, the pole is a short distance in front of the center of the panel. Turn to the right after walking a medium distance into the exhibit space then walk a short distance forward. The “Reconstructing the Constitution” panel will be directly in front of you.

To go through the exhibit to reach this panel from the front desk turn back towards the front entrance and walk a short distance towards the door then turn to the right and walk a short distance towards the side of the building. Then turn to the right and walk approximately a medium distance. Be careful of a metal structural pole in the front left corner of the object case in front of the panel “There is no power…”. Turn to the right and walk a short distance. Then turn to the left and walk a short distance. This panel is part of a free-standing L shape panel display. The “Reconstructing the Constitution” panel and “A Brief Moment in the Sun” panel make the outside of the L shape. The “A Brief Moment in the Sun” panel is connected to the left.

DESCRIBING: A six foot tall exhibit panel featuring information on constitutional amendments with textual and visual elements.

SYNOPSIS: This exhibit panel outlines the amendments to the U.S. Constitution during the Reconstruction era, emphasizing the 13th, 14th, and 15th Amendments, and highlighting the debates around women's suffrage.

IN-DEPTH DESCRIPTION: The infographic starts with a title in bold blue text: "Reconstructing the Constitution." To the right of the title is a simple illustration of a voting ballot in a ballot box with the word “Vote” on the box. Below it, a short paragraph explains the Dred Scott Case of 1857 and its impact on Black Americans.

A section titled "The Reconstruction Amendments" follows, describing the 13th Amendment of 1865 that abolished slavery, the 14th Amendment of 1868 that granted citizenship and equal protection, and the 15th Amendment of 1870 that secured voting rights regardless of race. An illustration of Black men voting during Reconstruction is located under this text.

The final section, titled "An Unfinished Amendment," discusses the exclusion of women's suffrage from the 15th Amendment debates, eventually leading to the 19th Amendment in 1920. This section also mentions the persistent racial discrimination against Black women until the 24th Amendment of 1964 and the Voting Rights Act of 1965. An image of Frances Rollin Whipper, a Black suffragist, appears at the bottom right corner.

In 1857, the Supreme Court ruled in the Dred Scott Case that the Constitution did not apply to Black Americans. As Reconstruction unfolded, three major amendments were added to the Constitution to ensure rights expanded to Black Americans. Together, these amendments shape the expansion of citizenship and civil rights.

The 13th Amendment of 1865 abolished slavery, ending an institution that existed for nearly 250 years. However, a clause within the amendment allowed courts to re-enslave people convicted of a crime, leading to convict leasing and chain gangs.

The 14th Amendment of 1868, granted citizenship to all people born or naturalized in the US, including those who were formerly enslaved. The amendment guaranteed due process and equal protection under the law, laying the groundwork for a broader definition of American citizenship.

The 15th Amendment of 1870, stipulated that the right to vote could not be denied on account of race. This gave most Black men access to the ballot. The amendment did not bar discrimination on account of gender, wealth, education, or criminal background. These quickly emerged as loopholes to deny people voting rights.

DESCRIBING: A sepia toned, historical illustration.

SYNOPSIS: An illustration that vividly conveys the emotions of a momentous voting event, centered on an elderly Black man whose expression and posture reflect both fatigue and hope.

IN-DEPTH DESCRIPTION: The central figure is an elderly Black man wearing a tattered suit, standing at a voting booth, ready to cast his ballot. His face is etched with lines of age and hardship, yet his eyes convey determination. His posture, slightly stooped, indicates a long life of toil.

Behind him, other Black men, diverse in age and attire, wait their turn, symbolizing the newfound right to vote. A man in a formal suit shows a look of quiet pride. While another in a military uniform stands with a stoic expression, hinting at a disciplined and hopeful future. To the left of the elderly man, an official waits to receive the ballot. The scene is set within a wooden building, with light filtering in, casting soft shadows that add depth.

CAPTION: Shortly after the Civil War some Reconstruction governments in the south granted Black men the right to vote. Black male suffrage was not national until the 15th Amendment.

CREDIT: Library of Congress

As Congress argued the 15th Amendment during Reconstruction, some of the most heated debates emerged over whether women should be given the right to vote. Ultimately, women’s suffrage was not included in the 15th Amendment. Fifty years later, in 1920, the 19th Amendment granted women the right to vote.

Despite activism by Black suffragists, the amendment did not address racial discrimination at the polls. It was not until the 24th Amendment of 1964 and the Voting Rights Act of 1965 that most southern Black women could vote.

DESCRIBING: A colorized photograph of a historical portrait.

SYNOPSIS: This is a cropped, colorized photograph of a formal portrait of a historical woman, focusing closely on her head and shoulders. Handwritten text appears faintly above her head, “Mrs. Frances Anne Rollins Whipper”.

IN-DEPTH DESCRIPTION: In this image, the central focus is on a woman’s facial features, lit softly to highlight her neutral expression. Her brown hair is neatly arranged in an upward style, suggesting a formal portrait setting. She is clad in a high necked, black dress with a glimpse of white lace around the collar. Above her head, there is handwritten text, marking the image with "Mrs. Frances Anne Rollins Whipper.” The dark, monotone background further emphasizes the subject’s face and the muted colors of her attire, creating a somber yet dignified presentation.

CAPTION: Frances Rollins Whipper and her sisters were prominent Black suffragists and activists in Reconstruction era South Carolina. Whipper is buried at Wesley United Methodist Church in Beaufort.

CREDIT: New York Public Library

There are two routes from the front desk one will take you directly to the panel and one will take you through the exhibit. To go directly from the desk to the panel turn to the left and walk a medium distance towards the left side wall of the exhibit. Be aware of the metal structural pole in front of the “Lay of the Land” panel, the pole is a short distance in front of the center of the panel. Turn to the right after walking a medium distance into the exhibit space then walk a short distance forward. Turn to the left and walk a short distance forward. Turn to the right and “A Brief Moment in the Sun” panel will be directly in front of you.

To go through the exhibit to reach this panel from the front desk turn back towards the front entrance and walk a short distance towards the door then turn to the right and walk a short distance towards the side of the building. Then turn to the right and walk a medium distance. Be careful of a metal structural pole in the front left corner of the object case in front of the panel “There is no power…”. There is a second metal pole a short distance in front of the “A Brief Moment in the Sun” panel to be aware of, this pole is only a narrow distance from the side wall of the exhibit. Turn to the right to face the panel. This panel is part of a free-standing L shape panel display. The “Reconstructing the Constitution” panel and “A Brief Moment in the Sun” panel make the outside of the L shape. The “Reconstructing the Constitution” panel is connected to the right.

DESCRIBING: A colorful exhibit panel.

SYNOPSIS: Viewers are looking at a 6 foot tall exhibit panel with text overlaid on a historic tax map with a historic image. This educational poster explores Black political and economic power from 1860 to 2024, featuring historical texts, photographs, and a line graph. The upper section delves into political advancements, while the lower section highlights economic progress and key individuals.

IN-DEPTH DESCRIPTION: The top left features the heading "A Brief Moment in the Sun" in bold blue letters. Adjacent to it on the right is an illustration of a government building behind a tree silhouette. Below, the subheading "National Black Political Power (1860 to 2024)" centers the narrative on Black involvement in politics during Reconstruction, mentioning influential figures like Hiram Revels, Bruce Blanche, and Joseph Rainey. A line graph depicts the fluctuating number of Black U.S. Senators and Representatives over the years. Transitioning to the "Economic Power" section, the focus shifts to the Freedman's Bank, highlighting its significance in fostering financial stability in Black communities and supporting Black owned businesses. To the right of the text lies an old photograph of the Freedman's Bank building, attributed to the Library of Congress and showcasing its location on Bay Street in Beaufort. The image highlights the building's endurance, despite changes. The poster culminates with a feature on Robert Smalls, presented through a larger sepia toned photograph. His contributions as a Civil War hero, property owner, advocate, state legislator, and U.S. Congressman are succinctly outlined in blue text against a green backdrop.

Armed with the vote, Black people became active in politics during Reconstruction. At one point, Black citizens made up a majority of the South Carolina State House of Representatives. Beaufort's Robert Smalls, served in both the South Carolina state legislature and the US Congress.

More than 1,500 Black men held political office during Reconstruction. Hiram Revels (1870 to 71) and Bruce Blanche (1875 to 81) were the first Black US Senators. Joseph Rainey (1870 to 79), from Georgetown, South Carolina was the first Black US Representative. After Reconstruction, Black people were largely absent from Congress until after the Civil Rights Movement. The first Black Senator from the south since Reconstruction was Tim Scott (South Carolina), elected in 2013. By 2024, one-fourth of Congress was made up of people of color.

DESCRIBING: A longitudinal graph with layered historical and trend data in color.

SYNOPSIS: A graph that visualizes the evolution of African American representation in the U.S. government from 1860 to 2022, juxtaposed with critical historical milestones. The x axis labels the years, and the y axis indicates the number of African American officials. Different colors distinguish U.S. Senators, U.S. Representatives, and Governors.

IN-DEPTH DESCRIPTION: Starting with sparse representation after the Civil War, the line for U.S. Representatives shows a notable increase in the 1870s during Reconstruction, followed by a steep decline during the Jim Crow era. Post 1960 civil rights movements herald slow but significant growth, culminating near 2020. U.S. Senators and Governors begin with minimal presence, with slight increases post 1960, marked by key events like the Emancipation Proclamation of 1863 and the election of President Obama in 2008. The y axis spans from 0 to 70, depicting the number of officials over time. Key periods, including the Civil Rights Movement and World War Two, are indicated. The black line for U.S. Representatives stands out, showing early peaks, a significant drop, and a recent resurgence. The green line for U.S. Senators remains low until the late 20th century. The blue line for Governors emerges intermittently starting in the 1980s.

(Keep listening for exact data.)

A graph explaining Black political power showing a rise and fall of Black politicians and Black voting power from 1860 to 2024. The percentages of Black U.S. Senators, U.S. Representatives, and governors are shown in the graph. Key dates are shown across the top: Emancipation Proclamation 1863, Withdraw of Federal Troops 1876, Plessy v. Ferguson 1896, Showing of "Birth of a Nation" in the White House 1915, Desegregation of the Military 1947, Civil Rights Act 1964, President Obama Elected 2008. Key eras are highlighted in the body of the graph: Civil War 1861 to 1865, Reconstruction 1861 to 1900, Jim Crow 1900 to 1939, World War One 1914 to 1918, World War Two 1939 to 1945, Civil Rights Movement 1939 to 1980. Next is the data from each line graph for Black governors, senators, and representatives.

The line graph for Black Governors: 1 governor in 1872 and 1873, 1 in 2007, 2 from 2008 to 2011, 1 from 2012 to 2015. 

The line graph for Black Senators: 1 from 1867 to 1869, 2 from 1870 to 1871, 1 from 1872 to 1874, 2 from 1875 to 1879, 1 in 1880 and 1881, 1 from 1967 to 1979, 1 from 1993 to 1999, 1 from 2005 to 2010, 3 in 2013, 2 from 2014 to 2020, 3 in 2021 and 2022, 4 in 2023 and 2024. 

The line graph for Black Representatives: 1 in 1870, 4 in 1871, 3 in 1872, 7 from 1873 to 1874, 10 in 1875, 7 from 1876 to 1877, 3 from 1878 to 1879, 2 in 1882, 3 in 1883, 2 from 1884 to 1887, 1 in 1889, 2 from 1890 to 1891, 1 in 1892, 2 in 1893, 1 from 1894 to 1896, 2 in 1897, 1 from 1898 to 1901, 1 from 1929 to 1934, 2 in 1935, 1 from 1936 to 1942, 2 in 1943, 1 in 1944, 2 from 1945 to 1954, 3 from 1955 to 1957, 4 from 1958 to 1962, 5 in 1963 and 1964, 6 from 1965 to 1968, 9 in 1969 and 1970, 12 in 1971 and 1972, 14 in 1973 and 1974, 15 from 1975 to 1977, 14 in 1978, 18 in 1979, 17 in 1980, 18 in 1981 and 1982, 22 in 1983, 20 from 1984 to 1986, 24 in 1987 and 1988, 25 in 1989, 24 in 1990, 27 in 1991, 26 in 1992, 42 in 1993, 37 in 1994, 40 in 1995, 38 in 1996, 41 in 1997, 37 in 1998 and 1999, 35 in 2000, 36 in 2001, 35 in 2002, 41 in 2003, 37 in 2004, 40 in 2005, 39 in 2006, 43 in 2007, 41 in 2008, 38 in 2009, 37 in 2010, 44 in 2011, 40 in 2012, 44 in 2013, 40 in 2014, 43 in 2015 and 2016, 48 in 2017, 45 in 2018, 54 in 2019, 52 in 2020, 60 in 2021, 55 in 2022, 66 in 2023, 59 in 2024.

The Freedman's Bank was an important institution aimed at helping Black citizens gain economic stability. It started as a military experiment in Beaufort. In March 1865, Congress formally established the Freedman’s Bank.

During Reconstruction, Black citizens thrived economically. Around Beaufort and the Sea Islands, they owned tin shops, restaurants, blacksmiths, stables, and farms. As business owners, they began to build wealth that had been denied during slavery.

DESCRIBING: A vintage photograph

SYNOPSIS: A black and white photograph of the Freedman’s Bank on Bay Street in Beaufort, South Carolina during the Reconstruction era. The building is a three story brick building with a two story porch. The building is set behind a picket fence and a tree stands in front of the left side.

IN-DEPTH DESCRIPTION: The building in the photograph stands two stories tall, with wooden construction and a gabled roof. A charming front porch extends across the front, bordered by a low wooden fence that encloses the yard. The porch leads up to a double door entrance, flanked by large windows. Above, an open balcony looks over the yard, with similar doors and windows, reflecting the layout below. Two chimneys rise from the roof. The bank is partially shaded by a nearby tree, whose branches spread towards the porch.

CAPTION: The Freedman’s Bank was located on Bay Street in Beaufort. The building has changed over time but still stands.

CREDIT: Library of Congress

DESCRIBING: A sepia colored historical photograph of Robert Smalls, an African American man.

SYNOPSIS: This sepia toned photograph captures Robert Smalls, an African American man in dignified formal attire, exuding a sense of pride and reflection. The warm sepia tones lend the image an antiquated, historical ambiance.

IN-DEPTH DESCRIPTION: The Small’s attire consists of a dark jacket with broad lapels, a bow tie, and a vest. His jacket is buttoned but relaxed. His expression is stern yet reflective, with eyes gazing past the camera. His facial hair includes a well groomed beard and moustache, with his hair cropped short. The background of the image, while largely nondescript, includes faint patterns that offer a textured contrast to the subject. A metal chain hangs from his vest pocket, which likely holds a pocket watch. What this version aims to achieve: This description emphasizes key personal and contextual details, focusing on providing a vivid visual representation while maintaining the individual's cultural and historical significance.

CAPTION: Smalls was a hero during the Civil War. He was also a property owner, advocate, state legislator, and US Congressman.

CREDIT: Library of Congress

There are two routes from the front desk one will take you directly to the panel and one will take you through the exhibit. To go directly from the desk to the panel turn to the left and walk a medium distance towards the left side wall of the exhibit. Be aware of the metal structural pole in front of the “Lay of the Land” panel, the pole is a short distance in front of the center of the panel. Turn to the right after walking a medium distance into the exhibit space then walk a medium distance forward. Turn to the left and walk a short distance forward. The “Since Reconstruction Times” panel will be directly in front of you.

To go through the exhibit to reach this panel from the front desk turn back towards the front entrance and walk a short distance towards the door then turn to the right and walk a short distance towards the side of the building. Then turn to the right and walk a medium distance, going past the “A Brief Moment in the Sun” panel. Be careful of a metal structural pole in the front left corner of the object case in front of the panel “There is no power…”. There is a second metal pole a short distance in front of the “A Brief Moment in the Sun” panel to be aware of, this pole is only a few inches from the side wall of the exhibit. Turn to the right and walk a short distance. The turn around so the “Since Reconstruction Times” panel is directly in front of you. This panel is part of a free-standing L shape panel display. The “Since Reconstruction Times” panel and “Resistance & Black Excellence” panel make the inside of the L shape. The “Resistance & Black Excellence” panel is connected to the left.

DESCRIBING: A six foot tall exhibit panel with historical context and data visualization.

SYNOPSIS: The exhibit panel examines racial violence in the United States post Reconstruction. It opens with a quote from Robert Smalls, highlighting the systemic nature of this violence. Key sections include the Hamburg Massacre and broader patterns of racially motivated attacks. The infographic also features a U.S. map visualizing massacre sites from 1862 to 1962.

IN-DEPTH DESCRIPTION: The exhibit panel starts with a large quotation at the top in a bold blue: “Since Reconstruction times, 53,000 Negroes have been killed in the South,” by Robert Smalls, dated 1895. Behind the text is an illustration of a torn voting ballot to symbolize violence against voters. Below this, smaller text describes how white supremacists used violence against Black citizens to resist their political gains during Reconstruction.

The main body of the panel is divided into three sections. The first section, titled "Hamburg Massacre," outlines an event on July 8, 1876, where a group named the Red Shirts attacked Black citizens in Hamburg, South Carolina. This section includes a historical photo of Prince Rivers, relevant to this period.

The second section, "Broader Patterns of Violence," connects the Hamburg Massacre to other violent events like the Memphis Massacre (1866) and Tulsa Massacre (1921), underscoring a pattern of racial violence.

The final section is titled "Racial Massacres (1862 to 1962)." At the bottom of the infographic is a U.S. map with dots indicating massacre sites, color coded by the periods 1862 to 1900, 1901 to 1940, and 1941 to 1962. A legend on the left hand side of the map explains the color coding.

White supremacists often used violence against Black citizens and their allies to resist the political gains they achieved during Reconstruction.

On July 8, 1876, white supremacists in a group called the Red Shirts attacked and killed Black citizens in Hamburg, South Carolina. This attack was part of a larger terror campaign carried out by former Confederates during the 1876 election campaigns. The Hamburg Carrsville African American District in Aiken County, South Carolina exemplifies the strength of Black communities fighting to preserve Reconstruction.

DESCRIBING: A sepia toned oval portrait photograph.

SYNOPSIS: The image displays a well dressed Black man, Prince Rivers, in an oval sepia toned photograph. His stern expression and formal attire suggest a significant historical figure.

IN-DEPTH DESCRIPTION: Prince Rivers is positioned at the center of the oval framed photograph. His attire includes a white shirt paired with a dark jacket, which adds to his formal appearance. The image, marked by its sepia tone, accentuates the historical context. His serious expression and poised demeanor suggest a sense of dignity and importance. The textured backdrop behind him remains blurred, keeping the focus on Rivers.

CAPTION: Prince Rivers, a veteran of the 1st South Carolina Volunteers, represented Aiken County in the state legislature. He was the judge who presided over the trials for the Hamburg Massacre.

CREDIT: Library of Congress

The story of Hamburg is not isolated. Similar acts of violence occurred throughout Reconstruction. Some, like the Memphis Massacre of 1866, Camilla Massacre of 1868, and Colfax Massacre of 1873 were large scale acts of terror. Often, groups like the Ku Klux Klan targeted individual Black citizens and their allies. President Ulysses S. Grant used the military to fight the Klan, but the peace was short-lived.

Racial violence continued beyond Reconstruction and the south. In the 20th Century, massacres in Atlanta, Georgia of 1906, Springfield, Illinois of 1908, and Tulsa, Oklahoma of 1921 repeated the patterns of Reconstruction era violence.

DESCRIBING: A color coded map of the United States.

SYNOPSIS: This map outlines the United States and features several colored dots to indicate historical racial massacres, categorized into three time periods. Each color represents a different era, noted in the legend.

IN-DEPTH DESCRIPTION: The map is a dark brown silhouette of the United States, divided into its separate states by thin white lines. Numerous colored dots are scattered throughout the map, indicating racial massacres during different periods. The map has a total of 74 dots on it representing 74 different massacres.

Yellow dots represent massacres from 1862 to 1900 and there are a total of 38 yellow dots from the east coast to the west coast of the United States, a significant cluster can be seen in the southern states. Blue dots represent massacres from 1901 to 1940, there are a total of 26 blue dots across the United States from the east to the west coast. Blue dots are predominantly found in the Midwest and eastern United States. Red dots represent racial massacres from 1941 to 1962 there are a total of 10 red dots the spread from the east coast to Texas.

The bottom left corner holds the legend, depicting a yellow, blue, and red dot alongside their corresponding date ranges.

CAPTION: Racial Massacres (1862 to 1962)

Some of the most notorious race massacres occurred during and after Reconstruction. Each attack represented a brutal episode in America’s struggle with racial violence and injustice.

CREDIT: National Park Service

There are two routes from the front desk one will take you directly to the panel and one will take you through the exhibit. To go directly from the desk to the panel turn to the left and walk a medium distance towards the left side wall of the exhibit. Be aware of the metal structural pole in front of the “Lay of the Land” panel, the pole is a short distance in front of the center of the panel. Turn to the right after walking a medium distance into the exhibit space then walk a medium distance forward. Turn to the left and walk a short distance forward. Turn to the left and the “Resistance & Black Excellence” panel will be directly in front of you.

To go through the exhibit to reach this panel from the front desk turn back towards the front entrance and walk a short distance towards the door then turn to the right and walk a short distance towards the side of the building. Then turn to the right and walk a medium distance, past the “A Brief Moment in the Sun” panel. Be careful of a metal structural pole in the front left corner of the object case in front of the panel “There is no power…”. There is a second metal pole a short distance in front of the “A Brief Moment in the Sun” panel to be aware of, this pole is only a few inches from the side wall of the exhibit. Turn to the right and walk a short distance. The turn to the left so the “Resistance & Black Excellence” panel is directly in front of you. This panel is part of a free-standing L shape panel display. The “Since Reconstruction Times” panel and “Resistance & Black Excellence” panel make the inside of the L shape. The “Since Reconstruction Times” panel is connected to the right.

DESCRIBING: A vertical color educational exhibit panel with historical photographs and text.

SYNOPSIS: The educational exhibit panels details the resistance and achievements of Black American leaders. It is divided into sections discussing the resilience of Black communities amid oppressive laws and the impactful work of Black intellectuals. The poster utilizes historical images and portraits to bring the narrative to life.

IN-DEPTH DESCRIPTION: The header of the panel reads “Resistance & Black Excellence” in prominent blue letters, against a backdrop that features faint handwritten notes and historical documents, giving an archival feel. To the right of this title, an icon of a raised fist within an open book symbolizes resistance through knowledge.

The primary text begins by discussing the determination of Black Americans to seek justice amid oppressive laws. The narrative notes the migration to places such as Nicodemus, Kansas, as a form of self-empowerment. The roles of influential figures like Sojourner Truth and Frederick Douglass are underscored as guiding lights for these migrations.

Below that, the subheading “Black Intellectuals” marks a shift in focus to the contributions of Black leaders in education and resilience-building. Highlighted is Booker T. Washington’s Tuskegee Institute, combining academics and vocational training. Next, W.E.B. Du Bois' advocacy for professional and higher education is noted. Du Bois made history by being the first Black man to earn a PhD from Harvard. The writings of Ida B. Wells on the issue of lynching exemplify another layer of resistance and intellectual activism.

The lower part of the poster assembles the portraits of mentioned figures: W.E.B. Du Bois, Frederick Douglass, Sojourner Truth, Ida B. Wells, and Booker T. Washington. Their images frame the narrative beautifully, aligning with their written achievements.

In the face of oppressive laws, Black Americans sought various ways to reclaim their rights and agency. Some sought justice by moving west, where they established all-Black towns like Nicodemus in Kansas. Leaders like Sojourner Truth saw these migrations as steps to true freedom. Figures like Frederick Douglass urged Black Americans to confront injustice where they stood.

Under the motto "Lifting as we climb,” the National Association of Colored Women’s Clubs exemplified this local approach. Established in the 1890s, the National Association of Colored Women’s Clubs was made up of civic-minded Black women, and advocated for social reforms in their local areas.

DESCRIBING: A historical black and white photograph.

SYNOPSIS: This photograph depicts a long line of young Black teenage girls, standing in an organized formation along a dirt road. They are led by a Black woman at the front who appears to be their teacher or leader. The background shows sparse vegetation and modest wooden buildings, suggesting a rural setting.

IN-DEPTH DESCRIPTION: The photograph is black and white, capturing a scene from a past era. It features approximately two dozen young students standing in a single file line along a dirt road. Each student is dressed in a similar uniform of light colored blouses, dark skirts, and wide brimmed hats. The leader, a woman, stands at the front of the line holding a book or ledger. Her attire is consistent with the students', though slightly more formal, signifying her role as an authority figure. The surroundings feature a few wooden buildings with pitched roofs, a smattering of pine trees, and wire fencing, evoking a rural or perhaps agricultural setting. The students and their leader gaze towards the camera, imparting a sense of discipline and unity among the group.

CAPTION: Mary McLeod Bethune was a champion for education. She founded the school that became Bethune Cookman University.

CREDIT: Library of Congress

Black intellectuals responded to systemic racism by creating institutions focusing on resilience and community building. Founded by Booker T. Washington, Tuskegee Institute combined academics with job training. This ideology aimed to uplift through education and economic independence.

Dr. W.E.B. Du Bois, author of Black Reconstruction, advocated for a "talented tenth." He encouraged Black students to pursue professional careers and higher education. Du Bois was the first Black man to earn a PhD from Harvard University.

Ida B. Wells emerged as a key figure in the fight against lynching and racial violence. Wells documented lynchings in articles, pamphlets, and books. She challenged the claims of white supremacists that Black lynching victims were guilty of crimes.

These Black intellectuals highlight the growing resistance to institutionalized racism during and shortly after Reconstruction.

DESCRIBING: An antique monochrome photograph of a mixed group in formal attire.

SYNOPSIS: Set against a brick building backdrop with tall windows, this group portrait features a mixture of men and women of all races dressed formally, hinting at a significant event or gathering.

IN-DEPTH DESCRIPTION: In the image, about 30 people are posed in three rows. The front row has five seated on a wooden bench, including elderly gentlemen with white facial hair, suggesting a place of honor. Several women wear ornate, wide brimmed hats adorned with what appears to be flowers and feathers, indicative of early 20th century fashion. Behind them, men in dark suits and bow ties stand among women in high collared dresses, a style typical of the era. The building's façade, with its tall windows and brickwork, adds a stately air to the photograph. The group's expressions range from solemn to slight smiles, with each individual's posture formal and composed.

CAPTION: Teachers and trustees of Tuskegee Institute in 1906 outside the school library.

CREDIT: New York Public Library

DESCRIBING: A collage of sepia tone photographs featuring five historical figures.

DESCRIPTION: The image is a collage of portraits of prominent Black historical figures from the 19th and early 20th centuries. The sepia tone photographs give the image an antique feel and underscore the historical significance of the individuals depicted.

IN-DEPTH DESCRIPTION: In this collage there are five prominent Black figures portrayed in a combination of black and white and sepia tone photographs. Each figure is positioned in a way that showcases their significance and contribution to history. On the far left is W.E.B. Du Bois, with a distinguished look, wearing a three piece suit and bow tie. To his right, standing tall and slightly behind, is Frederick Douglass, a formidable presence with white hair and a beard, gazing into the distance. In the center, Sojourner Truth sits gracefully, draped in a shawl, with her hands clasped on her lap. To her right, Ida B. Wells features prominently with a determined expression, her hair styled neatly above her head. On the far right, Booker T. Washington appears educated and poised, dressed in a suit and looking confidently ahead.

CREDIT: Library of Congress

There are two routes from the front desk one will take you directly to the panel and one will take you through the exhibit. To go directly from the desk to the panel turn to the left and walk a medium distance towards the left side wall of the exhibit. Be aware of the metal structural pole in front of the “Lay of the Land” panel, the pole is a short distance in front of the center of the panel. Turn to the right after walking a medium distance into the exhibit space then walk a medium distance forward. Turn to the left and walk a short distance forward. The “How did we recover our liberty” panel will be directly in front of you.

To go through the exhibit to reach this panel from the front desk turn back towards the front entrance and walk a short distance towards the door then turn to the right and walk a short distance towards the side of the building. Then turn to the right and walk a medium distance, going past the “A Brief Moment in the Sun” panel. Be careful of a metal structural pole in the front left corner of the object case in front of the panel “There is no power…”. There is a second metal pole a short distance in front of the “A Brief Moment in the Sun” panel to be aware of, this pole is only a few inches from the side wall of the exhibit. Turn to the left so the “How did we recover our liberty” panel is directly in front of you. This panel is against the side wall of the exhibit side of the building. If coming from the “Resistance & Black Excellence” panel turn around and walk a short distance. Then turn to the left and walk a short distance. This panel is part of an L shape panel display against the side and back wall of the exhibit space. The “How did we recover our liberty” panel and “The histories of reconstruction” panel make the L shape. The “The histories of reconstruction” panel is connected to the right.

DESCRIBING: An eight foot tall exhibit panel featuring a collection of historical images, quotes, and explanatory texts on the aftermath of the Reconstruction era in the U.S.

SYNOPSIS: The exhibit panel contains various images and texts describing the social, political, and economic impacts that followed Reconstruction in the United States, particularly focusing on the oppression of Black citizens and the rise of segregation.

IN-DEPTH DESCRIPTION: At the top, Ben Tillman's provocative quote “How did we recover our liberty? By fraud and violence.” introduces the theme of the panel. Behind the quote is a simple illustration of a voting ballot torn to symbolize violence against voters. Situated above the quote are three evocative historical images: first, an illustration of a Black individual facing violence, followed by a photograph of shackled Black men standing solemnly, and ending with an image of a Black man sorting his damaged belongings after a violent attack.

The section labeled "Financial Impact" dives into the economic struggles post 1873 and is illustrated with a striking image of closed banks from that period, demonstrating the financial devastation experienced by Black citizens.

In the "Voting Violence" section, the narrative shifts to the violent techniques employed to disenfranchise Black voters, depicted vividly with an image of armed military personnel guarding a polling station.

The poster concludes with the "Separate & Not Equal" section, highlighting the legalized segregation that followed. This section is visually supported by images of a young Black boy in tattered clothes plowing a field, a run down schoolhouse with Black children, and a close up portrait of Ben Tillman, who played a critical role in supporting segregation and racist policies.

DESCRIBING: A horizontal black and white illustration from a late 19th century periodical.

SYNOPSIS: This editorial cartoon depicts a scene from the Reconstruction era, focusing on voter suppression and racial intimidation. Two white men are intimidating a Black man while others look on.

IN-DEPTH DESCRIPTION: In the foreground, centrally placed, stands a Black man in worn garments clutching his ballot. To his right, a white man, rugged and assertive, clutches the man's shirt and points a firearm aggressively at his head. The second white man stands to the left, in a relaxed way, holding a firearm with authority at the Black man’s head. Completing the scene are additional figures in the background, indicating onlookers or other voters, framed by a wooden beam structure. Through the door of the structure two white men on horses with rifles can be seen dragging another Black man between them. The scene is intense and charged, capturing the racial tensions of the period. The caption beneath reveals a coercive conversation, emphasizing the historical context of voting rights and racial discrimination: 

“‘Of course he wants to vote the Democratic ticket.’ Democratic “Reformer” “You’re as free as air, aren't you? Say you are, or I’ll blow yer black head off!”

CREDIT: National Museum of African American History & Culture

DESCRIBING: A landscape sepia toned photo of a prison labor force.

SYNOPSIS: A group of six men stand lined up, wearing striped prison uniforms with shackles on their feed and holding various digging tools. The background is a sparse outdoor setting with leafless trees and a wooden fence.

IN-DEPTH DESCRIPTION: The photograph captures a group of six Black men standing outdoors in what appears to be a work area. Each man holds a tool such as a shovel or a pickaxe. They are wearing striped prison uniforms and shackles on their feet, which immediately suggests they are part of a chain gang, a common penal labor system in the southern United States during this era. The men’s postures range from upright to a more relaxed stance, hinting at fatigue or resignation. Behind them, bare trees and a picket fence are visible, adding to the starkness and somber tone of the image. The ground looks freshly dug, indicating recent labor. The men's expressions range from stoic to fatigued, capturing a moment of their grueling day-to-day existence. This photograph provides a glimpse into the harsh realities of penal labor during the early 20th century.

CREDIT: Library of Congress

DESCRIBING: A horizontal sepia toned vintage photograph.

SYNOPSIS: The photograph features an outdoor scene with three men positioned near a large tree and a rustic house. An older Black man, sorts through an assortment of his damaged objects on the ground, is the focal point, while two white men, dressed formally, stand nearby with a stern look on their faces.

IN-DEPTH DESCRIPTION: An older Black man wears a wide brim hat and suspenders. He holds a box of items as he stands next to what is left of his belongings after the Tulsa Race Massacre left him homeless. As he sorts through his damaged belongings two white men in bowler hats stand in front of the man with stern looks on their faces. At the bottom of the image is handwritten text, which is hard to read but seems to say, “Old negro sorting for artifacts after mob violence, many were destitute and homeless.” This picture depicts the impact of racial violence on communities and the continued racial prejudice people faced.

CREDIT: National Museum of African American History & Culture

Reconstruction promised a new beginning for Black citizens, but resistance to Black rights was fierce. White supremacists like Ben Tillman used violence and intimidation to take political power and overturn Reconstruction. By the end of the 19th Century, Jim Crow Laws and Black codes enforced segregation and limited the freedoms of Black people.

Nationally, the Financial Panic of 1873 put states in debt, and shifted federal priorities away from Reconstruction. Northern businessmen claimed Reconstruction policies prolonged the economic hardships. Northern politicians lost interest in intervening in southern affairs. Their declining support allowed state and local governments across the south to work to overturn Reconstruction.

DESCRIBING: A historical line drawing illustrating a bank panic.

SYNOPSIS: This illustration depicts a chaotic scene outside two banks, emphasizing the panic of a financial crisis. The detailed sketch shows large crowds of men in period attire clambering to enter the banks.

IN-DEPTH DESCRIPTION: On the left, the "Fourth National Bank" is besieged by a mass of anxious individuals. The towering columns add to the dramatic urgency, with people in the foreground appearing to negotiate or argue, evidenced by their gesturing hands and expressive faces. On the right, the crowd at the "Union Trust Company" similarly exhibits desperation. The building's ornate facade looms over the assemblage as people push and shout, indicating the widespread fear and confusion triggered by the bank panic.

CAPTION: During the Panic of 1873, many banks closed, including the Freedman's Bank. As a result, Black citizens lost most of their financial wealth.

CREDIT: Library of Congress

Voting rights for Black Americans were restricted by former Confederates and their supporters towards the end of the 19th century. They did this through poll taxes, literacy tests, and grandfather clauses. By the 1876 election, resistance to Reconstruction was at its height. In South Carolina, Confederate General Wade Hampton - backed by white supremacist group the Red Shirts - was elected governor.

DESCRIBING: A sepia toned photograph depicting a group scene in front of historic buildings.

SYNOPSIS: The photograph shows a crowded outdoor scene in front of two large buildings. Above the crowd, bare branches of trees reach toward the sky. The foreground is populated with people and horses arrayed along a wooden fence. Text handwritten on the photograph reads, “Freedmen's first vote.”

IN-DEPTH DESCRIPTION: Dominating the image is a large, brick-built structure with high, white trimmed windows. Standing at its front are numerous men, dressed in dark coats and hats, waiting to vote. Many are engaged in what seems to be earnest conversation, their expressions and postures revealing anticipation or solemnity. Leaning on a wooden fence, a group of soldiers are accompanied by horses protecting the voters. The phrase "Freedmen's first vote" written on the image emphasizes the historical significance, capturing a moment of newfound freedom and civic participation. Another building can be seen in the background, partially obscured by bare trees, providing additional dimension and framing to the event taking place.

CAPTION: Between 1865 and 1876, military forces protected Black citizens, such as these soldiers’ guarding voters at the Anderson County (Texas) Courthouse.

CREDIT: Palestine Public Library/ University of North Texas Libraries.

By the 1890s, “Redemption” governments in the South oppressed Black citizens with harsh segregation laws. In South Carolina, white politicians organized a constitutional convention in 1895 for the purpose of ending Black voting. This new state constitution was championed by “Pitchfork” Ben Tillman, who served as both South Carolina’s governor and US Senator. The next year the Supreme Court ruled in Plessy v. Ferguson that “separate but equal” was Constitutional. The promises of Reconstruction were broken.

DESCRIBING: A sepia photograph depicting agricultural labor.

SYNOPSIS: A young Black boy, dressed in tattered clothing, stands in a field while holding onto a plow. The background showcases rows of crops aligned in the field.

IN-DEPTH DESCRIPTION: The photograph captures a poignant moment: a young farm worker in a ragged cap and overalls stands in the middle of a field, holding onto a plow that slices through the soil. Patches on his knees and torn sleeves are evidence of his worn down clothing. The tension in his hands and arms suggests continuous labor. His alert expression and firm grip on the wooden plow show his determination and resilience, despite his obvious exhaustion. Beyond the worker, the field extends far into the distance, dense with plants, showing the magnitude of the task at hand. The monochromatic color palette underscores the gravity of the work and living conditions.

CREDIT: Library of Congress

DESCRIBING: A sepia tone vertical picture.

SYNOPSIS: This photograph depicts a group of children and two adults standing in front of a dilapidated, two story wooden structure. On the right, there's a large bushy tree, and another building can be seen in the background.

IN-DEPTH DESCRIPTION: In this black and white photograph, a crowd of children is gathered in front of an antiquated, two story wooden building that shows signs of neglect, with boarded up and broken windows. The children, dressed in simple, early 20th century attire, form rows that stretch from the building’s wall out into the open dirt yard. On the left, two adults stand near the children, exuding an air of authority, as their teachers. The building the group stands in front of acts as their school. To the right, a large, bushy tree’s branches drape over part of the scene, providing a natural element that contrasts with the building’s aged, austere appearance. In the background, another white wooden building peers from behind vegetation, hinting at a small community setting. The photograph highlights the lack of equality in segregated education, with these young Black children restricted to school in a dilapidated building.

CREDIT: University of South Carolina

DESCRIBING: A sepia portrait photograph of a man.

SYNOPSIS: The image is a sepia, portrait of an older man, Ben Tillman, with a stern expression. The formal attire and serious demeanor suggest the subject held a significant or authoritative position.

IN-DEPTH DESCRIPTION: The subject of the image is Ben Tillman, visible from slightly below the shoulders up, gazing steadily to his right. His hair, short and well groomed, is a mix of gray and white, hinting at advanced age. The man wears a dark formal jacket over a white shirt, complemented by a tie or bow tie at the collar. The photograph emphasizes his stern expression, his high forehead and furrowed brows frame deep-set eyes that gaze intently out of the frame. The lips are pressed into a firm line, and his jaw is set, conveying a no nonsense demeanor. The edges of the photograph are marked with an inscription that identifies the man as “SEN. BEN. TILLMAN.” Tillman was a notorious white supremacist who put in place many racist policies.

CREDIT: Library of Congress

There are two routes from the front desk one will take you directly to the panel and one will take you through the exhibit. To go directly from the desk to the panel turn to the left and walk a medium distance towards the left side wall of the exhibit. Be aware of the metal structural pole in front of the “Lay of the Land” panel, the pole is a short distance in front of the center of the panel. Turn to the right after walking a medium distance into the exhibit space then walk a medium distance forward. Turn to the left and walk a short distance forward. Turn to the right and “The histories of Reconstruction” panel will be directly in front of you.

To go through the exhibit to reach this panel from the front desk turn around back towards the front entrance and walk approximately a short distance towards the door then turn to the right and walk a short distance towards the side of the building. Then turn to the right and walk a medium distance, going past the “A Brief Moment in the Sun” panel. Be careful of a metal structural pole in the front left corner of the object case in front of the panel “There is no power…”. There is a second metal pole a short distance in front of the “A Brief Moment in the Sun” panel to be aware of, this pole is only a few inches from the side wall of the exhibit. Turn to the right and walk a short distance. Then turn to the left so “The histories of Reconstruction” panel is directly in front of you. This panel is against the back wall of the exhibit side of the building. If coming from the “How did we recover our liberty” panel turn around and walk a short distance. Then turn to the left to face the panel. This panel is part of an L shape panel display against the side and back wall of the exhibit space. The “How did we recover our liberty” panel and “The histories of reconstruction” panel create the L shape. The “How did we recover our liberty” panel is connected to the left.

DESCRIBING: A color exhibit panel with text and multiple images.

SYNOPSIS: The panel provides an educational overview of the historical and ongoing impact of the Reconstruction period. It includes a quotation from Martin Luther King, Jr., alongside various photographs depicting key moments and figures in the Civil Rights, Black Power, and Third Reconstruction movements. Text blocks describe these movements and their continuing relevance.

IN-DEPTH DESCRIPTION: The panel is divided into four sections, starting with a quotation from Martin Luther King, Jr. in large blue letters: "The histories of Reconstruction '... have been recorded and arm us for our contemporary battles'". Below the quote, the text elaborates on how Reconstruction laid the groundwork for later civil rights movements, highlighting the importance of the 13th through the 15th Amendments.

In the top left, a photograph shows a crowd holding signs demanding jobs and freedom, contextualizing the Civil Rights Movement of the 1960s. Next to it, an image of Dr. Martin Luther King, Jr. speaking to other civil rights leaders underscores his crucial role.

The next section introduces the Black Power Movement with a bold heading. Text describes its emphasis on racial pride and economic self-sufficiency, with images of influential leaders like Huey P. Newton and the social and political impacts of their work.

Further down, the "Third Reconstruction" section connects past struggles to contemporary ones, especially the Black Lives Matter movement. Images show modern-day protests and activists, tying their efforts to the earlier civil rights and Black Power movements.

The bottom and right sections feature photographs of prominent civil rights movements and historical landmarks such as Edmund Pettus Bridge, Medgar and Myrlie Evers Home National Monument, protesters standing around a Confederate Monument, vigil at Mother Emmanuel Church, and Stonewall National Monument, drawing visitors to think about the history and importance of human rights and equality, ending with a question to engage the viewer: "What other issues do you see that are rooted in Reconstruction?" Lastly, there's an informative blurb about the Reconstruction Era National Historical Park.

DESCRIBING: A historic color photograph of a large demonstration.

SYNOPSIS: Thousands of people, unified in purpose, march under a bright blue sky, their placards a colorful mosaic of demands for justice, equality, and jobs. The Washington Monument rises in the background, a silent witness to their plea.

IN-DEPTH DESCRIPTION: Bathed in the light of a clear day, a diverse crowd of men and women, young and old, converge on the National Mall demanding job equality and civil rights. The vibrant signs they carry add splashes of color to the scene, with messages such as “UAW Says Jobs And Freedom For Every American" and “We Seek The Freedom In 1963 Promised In 1863." The determined faces of the demonstrators reflect their unwavering resolve. Dominating the scene, the lofty Washington Monument stands tall, a symbol of enduring legacy and a beacon for future aspirations.

CREDIT: Associated Press

Reconstruction laid the groundwork for later civil rights movements. Activists used the arguments of the 13th, 14th, and 15th Amendments to fight for a wide variety of issues, including voting rights, access to education, and anti-discrimination laws.

By the 1950s and 60s, civil rights leaders like Martin Luther King, Jr. demanded that Black citizens be granted their full rights. Some historians have called the 20th Century Civil Rights Movement a "Second Reconstruction.” King's leadership, along with the efforts of organizations like the Southern Christian Leadership Conference and Student Nonviolent Coordinating Committee, pushed the Civil Rights Movement forward.

Resistance to Civil Rights often mirrored that of Reconstruction as well. For example, white supremacists assassinated community leaders like Medgar Evers. Despite this resistance, the movement achieved significant victories such as the Civil Rights Act of 1964 and Voting Rights Act of 1965. These Acts gave the Congress the power to enforce the 14th and 15th Amendments.

DESCRIBING: A black and white photograph capturing a pivotal moment.

SYNOPSIS: The photograph features five Black and white individuals standing in close proximity outdoors, each gazing intently towards an unseen focal point. Their expressions range from contemplative to serious, reflecting a moment of deep significance.

IN-DEPTH DESCRIPTION: On the left, a man dressed in a light plaid suit gazes thoughtfully to his left. Next to him, a woman in a dark turtleneck shares his line of sight, her stance equally firm. Partially obscured by her, a bald man with a broad smile and dressed in a darker suit and tie peeks over her shoulder. The fourth individual, dressed in a dark suit with a striped tie, commands attention with his somber expression, adding a sense of gravity to the scene. A woman in a light sweater, holding a notepad and a pen, closes the group on the right, her eyes fixed intently forward. The background reveals a grassy landscape, a vintage car, and a white building, adding historical context to the image.

CAPTION: Civil rights leaders like Martin Luther King, Jr. and Medgar Evers often drew on the history of the Civil War and Reconstruction. Martin Luther King, Jr. visited Penn Center numerous times between 1964 to 1967.

CREDIT: Bob Fitch Photography Archive, Stanford University Libraries

DESCRIBING: A detailed photograph of Medgar Evers' small suburban house in a serene setting.

SYNOPSIS: The image captures a tranquil single story house with a carport, set in a lush suburban neighborhood and bathed in sunlight, framed by an abundance of greenery.

IN-DEPTH DESCRIPTION: Medgar Evers' house stands peacefully under a clear blue sky, its mint green exterior blending harmoniously with the verdant surroundings. A carport extends from the left side, supported by white, elaborately crafted iron posts, adding a touch of elegance. A short concrete path winds gently towards the covered entryway, which features a welcoming door and an accompanying window. The house’s façade is adorned with large front windows fitted with horizontal blinds, offering a hint of the cozy interiors. Surrounding the house is an expanse of well tended lawn, punctuated by towering trees that provide shade and a sense of seclusion. The entire scene exudes a calm and inviting ambiance, making it a quintessential suburban retreat.

CAPTION: Civil rights leaders like Martin Luther King, Jr. and Medgar Evers often drew on the history of the Civil War and Reconstruction. Martin Luther King, Jr. visited Penn Center numerous times between 1964 to 1967.

CREDIT: Georgia State University World Heritage Initiative

The late 1960s introduced the Black Power movement, emphasizing racial pride, economic self-sufficiency, and community. Leaders like Malcolm X, Stokely Carmichael, and Huey P. Newton challenged multi-racial, non-violent approaches to achieving equality. A century earlier, Reconstruction era Black leaders like Martin Delany had advocated for the same. In many ways the Black Power movement reflected Reconstruction era beliefs about self-sufficiency in the Black community.

DESCRIBING: A vertical color lithograph from the mid 19th century of Martin Delany.

SYNOPSIS: The illustration features Martin Delany, a Union army officer at the forefront with a detailed Civil War camp setting and the American flag in the background, highlighting the historical context.

IN-DEPTH DESCRIPTION: Martin Delany, a Union army officer stands in a composed and regal pose, dressed in a meticulously detailed dark blue frock coat, black trousers, and a red sash, emblematic of his high rank during the American Civil War. By his side, a gold handled sword gleams in the light. The background reveals an extensive military encampment with rows of white tents stretching across the scene. On the left, the American flag flutters prominently, adding a patriotic emphasis. To the right, a large tree with sprawling branches provides a natural frame, contrasting with the organized rigidity of the military camp. Alongside the officer, a few other soldiers are visible, though less defined, hinting at the camaraderie and the collective effort of the camp.

CAPTION: In the 1860s, Martin Delany advocated for independent Black societies, and didn't trust white politicians and educators. A century later, Black Power leaders like Huey P. Newton echoed the sentiments of Delany. In the 21st Century, Barack Obama achieved a degree of political power that previous generations never imagined.

CREDIT: National Portrait Gallery, Smithsonian Institution

DESCRIBING: A vertical, monochromatic photograph of Huey P Newton.

SYNOPSIS: Huey P Newton sits in a high back wicker chair, clutching traditional weapons, is surrounded by rich cultural symbols, enhancing the emotional depth and significance of the image.

IN-DEPTH DESCRIPTION: This monochromatic photograph captures Newton seated prominently in a high back, woven wicker chair. He wears a black beret and a leather jacket, emphasizing his strong presence. With his right hand, he holds a rifle upright, and with his left, he secures a spear adorned with an arrowhead and barbed ends. The backdrop features a zebra patterned rug and traditional African shields, deepening the cultural context. The man’s calm but intense gaze suggests a narrative of resilience and readiness, symbolizing strength and vigilance in the face of adversity. The monochrome palette adds to the gravitas of the image, drawing attention to its emotional and symbolic layers.

CAPTION: In the 1860s, Martin Delany advocated for independent Black societies, and didn't trust white politicians and educators. A century later, Black Power leaders like Huey P. Newton echoed the sentiments of Delany. In the 21st Century, Barack Obama achieved a degree of political power that previous generations never imagined.

CREDIT: Library of Congress

DESCRIBING: A color photograph taken at a significant public gathering.

SYNOPSIS: The image depicts President Barack Obama and First Lady Michelle Obama, two distinguished figures standing arm in arm on a stage, with President Obama waving joyfully to a packed, lively stadium. American flags and bright lights enhance the celebratory mood.

IN-DEPTH DESCRIPTION: At the center of the photograph stands, President Obama, a tall man in a sharp black suit, a crisp white shirt, and a pale blue tie, exuding confidence. Next to him, Michelle Obama stands in a vivid purple dress rests her arm around his, her smile radiant and engaging. The man raises his hand in a jubilant wave, a broad smile lighting up his face. Behind them, the teeming crowd in the stadium waves back energetically, holding vibrant signs. American flags flutter in the background, while bright spotlights accentuate the joyful moment. The elevated stage and microphone stand suggest that a significant announcement or speech is underway.

CAPTION: In the 1860s, Martin Delany advocated for independent Black societies, and didn't trust white politicians and educators. A century later, Black Power leaders like Huey P. Newton echoed the sentiments of Delany. In the 21st Century, Barack Obama achieved a degree of political power that previous generations never imagined.

CREDIT: Associated Press

As the 21st Century has unfolded, Reconstruction remains as relevant as ever. The Black Lives Matter movements and debates about policing draw heavily on the promises of the 13th and 14th Amendments. Political debates about voting requirements are rooted in the arguments about the enforcement of the 15th Amendment. Civil War and Reconstruction era monuments and places have become flashpoints in political and cultural debates. The meaning of Reconstruction has further expanded. For instance, the LGBTQ movement often draws on the Equal Protection clause of the 14th Amendment. What other issues do you see that are rooted in Reconstruction?

DESCRIBING: A vertical color photograph of a protest scene.

SYNOPSIS: The photograph features a heavily graffitied equestrian statue at its center, surrounded by a crowd of protesters. Two protesters in the foreground wear slogan bearing attire, expressing powerful messages.

IN-DEPTH DESCRIPTION: In the foreground stands a young man with his back to the camera, facing a towering equestrian statue draped in graffiti. His mask features a graphic of a face and the words, "I can't breathe #JusticeforGeorge." Next to him, another protester, wearing a black T-shirt proclaiming, "No Justice No Peace Black Lives Matter," stares resolutely at the statue. The pedestal of the statue is covered in vivid graffiti, with phrases like "Black Lives Matter" and "No Justice, No Peace" standing out. Around them, other protesters gather at the statue's base, taking photos, holding signs, and creating a dynamic atmosphere of collective activism. The scene is a powerful tableau of modern civil disobedience, juxtaposed with the monumental remnants of history.

CAPTION: The memory of the Civil War and Reconstruction shapes many modern social movements in the United States. The equal protection clause of the 14th Amendment inspires activists from a variety of movements.

CREDIT: Associated Press

DESCRIBING: A wide angle color photograph capturing a commemorative event.

SYNOPSIS: The image showcases a flag raising ceremony at the Stonewall National Monument, where three participants stand against a backdrop of lush greenery and urban buildings. The vividly colored flag, inscribed with significant details, is the focal point.

IN-DEPTH DESCRIPTION: Central to the photograph is a trio engaged in the act of raising a strikingly colorful flag. In the left foreground, a person in a red dress claps rhythmically, further enhancing the ceremonious atmosphere. Standing adjacent, an official park ranger assists an elderly man dressed casually in white shorts and a sleeveless top. Together, they guide the flag bearing the inscription “Stonewall National Monument Established 2016” and a vibrant Pride design, into the sky. This flag signifies a crucial milestone in LGBTQ+ history. Partially obscured by dense foliage, a statue in the background adds a blend of historical and natural elements to the scene. The park’s rich greenery, interspersed with views of urban buildings and more flags, contextualizes this culturally significant moment within the city environment.

CAPTION: The memory of the Civil War and Reconstruction shapes many modern social movements in the United States. The equal protection clause of the 14th Amendment inspires activists from a variety of movements.

CREDIT: National Park Service/ Donna Aceto

DESCRIBING: A vibrant photograph with high emotional content.

SYNOPSIS: Strongly clasped hands against a softly blurred American flag.

IN-DEPTH DESCRIPTION: In this close up image, two hands are interlocked, both gripping each other firmly in hopes for a better future. The hand on the left, wearing a silver wristwatch with a black strap, seems to pull the other closer. The background shows an American flag, but it is deliberately out of focus, reducing it to soft bands of red and white. The powerful act of clasping hands conveys a story of unity and collective strength set against a symbolic national backdrop, resonating deeply with feelings of solidarity and mutual support.

CREDIT: Associated Press

DESCRIBING: A vertical color photograph featuring a church and a group of people with raised hands.

SYNOPSIS: The photograph focuses on a large, white church with a tall steeple, set against an evening sky. In the foreground, a group of people, with their hands raised, appear to be in a moment of prayer or reflection.

IN-DEPTH DESCRIPTION: The white church, with its towering steeple reaching into the twilight sky, exudes a sense of reverence and grandeur. Gothic style windows and symmetrical crosses adorn its façade, reflecting the traditional architectural elements of a place of worship. The evening light casts a soft glow on the church, enhancing its serene presence. In the foreground, silhouetted against the church, is a group of people standing with their hands lifted towards the sky. Their varied attire suggests a diverse gathering, united in a shared moment of spiritual or communal significance. The mood is one of solemnity yet profound unity, captured beautifully against the backdrop of the approaching night.

CREDIT: Associated Press

DESCRIBING: A landscape color photograph.

SYNOPSIS: The photograph depicts a significant historical event, with a diverse group of people walking on the Edmund Pettus Bridge, symbolizing a moment of unity and remembrance.

IN-DEPTH DESCRIPTION: The image presents a powerful scene on the Edmund Pettus Bridge, featuring a mix of men, women, and older adult individuals in wheelchairs at the forefront of the march. The crowd appears engaged and reflective. The bridge's arched metal framework and the prominently displayed name, "Edmund Pettus Bridge," are central elements of the composition. Behind the marchers, urban buildings and an American flag suggest the historical and national significance of the event. The atmosphere communicated through their expressions and posture conveys a deep sense of remembrance and solidarity.

CREDIT: Associated Press

DESCRIBING: A horizontal color photograph.

SYNOPSIS: A celebratory group poses around a sign for the Reconstruction Era National Monument, showcasing a mix of formal, military, and park ranger attire.

IN-DEPTH DESCRIPTION: Smiling prominently in the center is a park ranger in his distinctive green uniform. Flanking him are individuals dressed in a U.S. Navy dress uniform, various suits, and one in a casual blazer. The mixture of attire reflects the diverse roles of those present. The tree branches above, festooned with Spanish moss, frame the scene with a sense of natural grandeur and historical continuity.

CAPTION: In 2017, President Obama established Reconstruction Era National Historical Park during the 150th Anniversary of Reconstruction. Two years later, Congress created the Reconstruction Era National Historic Network.

CREDIT: National Park Service

There are two routes from the front desk one will take you directly to the panel and one will take you through the exhibit. To go directly from the desk to the panel turn to the left and walk a medium distance towards the left side wall of the exhibit. Turn to the right after walking a medium distance into the exhibit space then walk a medium distance forward. The Object Case 2 will be directly in front of you.

To go through the exhibit to reach this case from the front desk turn back towards the front entrance and walk a short distance towards the door then turn to the right and walk a short distance towards the side of the building. Then turn to the right and walk a medium distance, going past the “A Brief Moment in the Sun” panel. Be careful of a metal structural pole in the front left corner of the object case in front of the panel “There is no power…”. There is a second metal pole a short distance in front of the “A Brief Moment in the Sun” panel to be aware of, this pole is only a few inches from the side wall of the exhibit. Turn to the right and walk a short distance. Then turn to the left so Object Case 2 is directly in front of you. This case is against the back wall of the exhibit side of the building. If coming from “The histories of Reconstruction” panel turn around and walk a short distance. Then turn to the left to face the case. This is the final piece of the exhibit.

DESCRIBING: A four foot long by two foot wide object case with several replica objects.

SYNOPSIS: The display case contains a vibrant purple banner with gold text, alongside several historical documents, pamphlets, and an open book. Labels provide explanatory context for these artifacts.

IN-DEPTH DESCRIPTION: Central to the display is a bold purple banner with decorative gold fringes, inscribed with the powerful motto, "Lifting As We Climb." This motto belongs to the National Association of Colored Women's Clubs (NACWC), an organization that advocated for African American women's rights. To the right of the banner, historical pamphlets "Southern Horrors (1892)" and "A Red Record (1894)" by Ida B. Wells that detail the horrors of lynching. An open book titled "Black Reconstruction (1935)" by W.E.B. Du Bois highlights the contributions of Black Americans during the Reconstruction era. Each item is accompanied by descriptive labels that offer deeper insights into their significance and impact.

DESCRIBING: A purple banner that is roughly one foot wide by one and a half foot long.

SYNOPSIS: A vibrant purple banner adorned with gold lettering and fringes. The words on the banner convey a message of collective progress and empowerment.

IN-DEPTH DESCRIPTION: The banner is made of a sturdy purple fabric. It measures roughly 15 inches in width and 18 inches in length. Golden fringes adorn the top and bottom edges, giving it a ceremonial appearance. The words "Lifting As We Climb" are painted with precision in large, golden letters. Above the text, three golden triangles are joined together to form a cohesive symbol. The bottom of the banner has a scalloped feature accented with gold fringe. To the lower right of the banner, a placard provides additional information.

CAPTION: This is the motto of the National Association of Colored Women’s Clubs (NACWC). The National Association of Colored Women’s Clubs began during Reconstruction and continues to advocate for communities today.

CREDIT: National Park Service

DESCRIBING: An open book with small, printed text.

SYNOPSIS: The image shows an open book lying flat on a wooden table. The pages are densely filled with text, divided neatly into paragraphs. Headings are visible at the top of each page.

IN-DEPTH DESCRIPTION: On the left page, the heading "Black Reconstruction" is at the top, indicating the name of the book. The text is uniformly printed in a small, serif font, making the paragraphs appear dense. The right page has a different heading, "South Carolina," for the name of the chapter. The layout is symmetrical, with balanced margins and consistent line spacing. “Black Reconstruction” was written by W.E.B. Du Bois in 1935 and told the history of Reconstruction in America.

CAPTION: This book by W.E.B. Du Bois challenged the views on Reconstruction. Du Bois criticized the academic view and gave agency to the Black Americans of Reconstruction.

DESCRIBING: Two overlapping replicas of historical pamphlets.

SYNOPSIS: Two pamphlets, slightly overlapping, both of which are replicas of significant historical documents. The pamphlet on the left is titled "Southern Horrors: Lynch Law in All Its Phases," and the pamphlet on the right is titled "A Red Record." Both pamphlets are authored by Ida B. Wells, a prominent anti-lynching crusader and civil rights advocate.

IN-DEPTH DESCRIPTION: The left pamphlet, titled "Southern Horrors: Lynch Law in All Its Phases," is a thin booklet with a light brown cover. The title and author's name are printed in a traditional serif font. There is a detailed sketch of Ida B. Wells, portrayed with a dignified expression and an intricately styled updo. The right pamphlet, "A Red Record," has a cream colored cover with a bold, uppercase title in red. Below the title, subtitled in smaller black text, it reads "Tabulated Statistics and Alleged Causes of Lynchings in the United States: 1892 to 1894."

CAPTION: A Red Record

Ida B. Wells book, A Red Record, documented a growth in white mob violence. Wells compiled data from 1864 to 1894 and reported that over 10,000 Black Americans had been lynched.

CAPTION: Southern Horrors

White journalists often claimed that lynching was tool of punishment for crimes. Ida B. Wells challenged this, reporting the real reason Black men were lynched was for civic participation.

CREDIT: New York Public Library

To return to the front desk after viewing the Object Case 2 turn around and walk a short distance. Then turn to the left and walk a short distance. Turn to the left again and you will be facing the desk.