Original Photographs Taken on the Battlefields during the Civil War of the United States — John Stuart Mill — John Shaqi
Original Photographs Taken on the Battlefields during the Civil War of the United States
John Stuart Mill · en
Original Photographs
Taken on the
BATTLEFIELDS
During the
Civil War of the United States
By Mathew B. Brady and Alexander Gardner
Who operated under the Authority of the War Department and the
Protection of the Secret Service
Rare Reproductions from Photographs Selected from Seven Thousand
Original Negatives Taken under Most Hazardous Conditions in
the Midst of One of the Most Terrific Conflicts of Men
that the World Has Ever Known, and in the Earliest
Days of Photography--These Negatives Have Been in
Storage Vaults for More than Forty Years and
are now the
Private Collection of Edward Bailey Eaton
Valued at $150,000
FIRST PRESENTATION FROM THIS HISTORIC COLLECTION
MADE OFFICIALLY AND EXCLUSIVELY
BY THE OWNER
Hartford, Connecticut
1907
COPYRIGHT 1907 BY E. B. EATON
COPIES OF THIS ALBUM MAY BE OBTAINED
BY A REMITTANCE OF THREE DOLLARS TO
EDWARD B. EATON
HARTFORD, CONNECTICUT
PUBLISHER
Martyrs on Altar of Civilization
BY
FRANCIS TREVELYAN MILLER
EDITOR OF THE JOURNAL OF AMERICAN HISTORY
[Illustration: MATHEW BRADY, FIRST WAR PHOTOGRAPHER IN AMERICA
He followed the Armies during the Civil War and secured these remarkable
Negatives--In conference with Major-General Burnside at the Headquarters
of the Army of the Potomac near Richmond, Virginia--Brady occupies the
chair directly in front of the tree while General Burnside is reading a
newspaper--This picture was found among his negatives]
THIS is undoubtedly the most valuable collection of historic photographs
in America. It is believed to be the first time that the camera was used
so extensively and practically on the battle-field. It is the first
known collection of its size on the Western Continent and it is the only
witness of the scenes enacted during the greatest crisis in the annals
of the American nation. As a contribution to history it occupies a
position that the higher art of painting, or scholarly research and
literal description, can never usurp. It records a tragedy that neither
the imagination of the painter nor the skill of the historian can so
dramatically relate.