*WORLD WAR II TRENCH "ART"IFACT*

 
Keeping the theme of Veteran’s Day in mind, November’s selection for the Lynchburg Museum System’s "Awesome Artifact" is a relic from World War II. The above ashtray belonged to Lynchburg resident John G. White, who served in Holland. What may actually look like a useful souvenir actually symbolizes two significant things: the genre of trench art in art history, which can be highly collectible, and even more so, the historical event to which the artifact is linked.  Right: As far as materials used, the base is fashioned from a brass 105mm M14 Type 1 artillery shell casing, with other parts constructed from varying sizes of bullets.




Left: Two coins bearing the profile of the Dutch Queen Wilhelmina are welded to the side. Engraved along the sides it says "SPekholzerheide John G. White Holland 1945 Souvenir." John G. White later worked as a custodian in the Circuit Court of Lynchburg from 1955-1981.

Military souvenirs and relics have always existed through history but the actual term "trench" art came from a specific time period. World War I was known for its trench warfare but also for the art that evolved during that time.

Source: http://makinghistoryatnorthumbria.wordpress.com/tag/battle-of-the-somme/

As seen in the above photo from WWI's Battle of the Somme, there was no shortage of artillery shell casings, and many were often engraved with names, dates, and illustrations of previous battles.¹ Bullets, aluminum, buttons, shrapnel, empty ammunition clips, and other items were picked up off of the battlefields and became personal mementos or artistic assemblages of souvenirs. The creation of trench art was not often done by the entrenched, though the men had long periods of boredom between fighting. Items were frequently made away from the battlefields and trenches as the hammering of metal and other processes used to create the art would have given one’s position away to the enemy. In her book Trench Art: An Illustrated History, author Jane Kimball lists several categories that these artworks fall into and the reasons for their creation:

• War souvenirs collected by soldiers or non-combatants during the war and during the demobilization period and modified in some way to serve as a remembrance of the war.
• Souvenirs crafted by soldiers during the war.
• Souvenirs made for sale to soldiers by other soldiers or civilians during the war.
• Souvenirs made by prisoners of war in exchange for food, cigarettes or money.
• Mementos of the war made by convalescent soldiers.
• Post-war souvenirs made for tourists visiting the battlefields.
• Post-war souvenirs made by commercial firms in trench-art style.

White’s trench art ashtray is specifically linked to the liberation of the Dutch city Spekholzerheide, located in province of Limburg in the Netherlands. In this case, the Museum knows all of this because the artifact made it clear by its markings. Many trench art pieces do not have such wonderful information written on them! However, it is not known whether White (or a fellow soldier) made the souvenir by hand or if he purchased it. The town was liberated from the Germans by the Allied forces on September 17, 1944. The Dutch had been neutral during the first World War and maintained their neutrality until the Nazis invaded in 1940. Though the Nazis felt the Dutch themselves were nearly pure in their Aryan descent, many Jews had come to the Netherlands to escape the persecution across Europe.² Queen Wilhelmina left her country and rallied against the Nazis from afar. Although living in an occupied nation caused hardship, the true suffering of the Dutch people did not begin until after the D-Day invasion in June 1944. In response to the invasion, the Germans blockaded food coming into the Netherlands, causing a horrific famine. This famine, which lasted until the liberation in the fall of 1944, resulted in the deaths of many and severe malnourishment caused lasting maladies in the survivors.³

Trench art is a genre which will continue to remain active as long as war is waged. As mentioned above, the categories are broad as well as the range of materials used. Some of these mementos may be akin to trophies, memorials to lost friends, or on the shelf for purchase in battlefield gift shops. The Lynchburg Museum is fortunate to have such an amazing artifact from a local veteran who was there to witness the inevitable fall of Hitler's Nazis.


¹ Trench Art: An Illustrated History, http://www.trenchart.org/ (accessed 11/07/13).
² Survival and Resistance: The Netherlands Under Nazi Occupation, http://www2.webster.edu/~woolflm/netherlands.html (accessed 11/12/13).

³ Dutch Famine Birth Cohort Study, http://www.dutchfamine.nl/index_files/study.html (accessed 11/14/13).



- C.P. DeSilvey, Curatorial Assistant, Lynchburg Museum System

An Embalming Kit from Lynchburg's Oldest Business

 

Belonging to Walter A. Shaw, this embalming kit (ca. 1918) was used by the Diuguid Funeral Service, Lynchburg’s oldest surviving business and the second oldest funeral home in the country. While many might find this artifact a morbid oddity, this embalming kit gives us an opportunity to consider the history of this significant Lynchburg firm and the often overlooked work of the mortuary profession.

From Furniture Making to Funerals
The firm’s founder, Sampson Diuguid (1795-1856), was a furniture maker by trade, who settled in Lynchburg in 1817. Diuguid was a descendant of French Protestant Huguenots, and his unusual family name is believed to be a contraction of “Dieu Guide” meaning “God our guide.”(1)

Diuguid was initially a partner in the firm Winston and Diuguid, described as “Cabinetmakers, Upholsters, and Undertakers” in this December 14, 1818 notice in the Lynchburg Press:
“In expressing their gratitude for past favors, [Winston and Diuguid] respectfully informs the public that they have on hand a general assortment of furniture which they will sell on accommodating terms . . . They have likewise an assortment of cabinet makers materials for sale on the most accommodating terms, also an assortment of Windsor Chairs of good materials and workmanship. N. B. Their Hearse will in future run for customers free of charge[.] W&D” (2)


In the 1820s, Diuguid started operating independently, beginning to establish the respected funeral service that continues to the present-day. Recorded in 1820, the first entry in Diuguid’s burial records indicates that the furniture maker agreed to make a coffin for the child of John Victor, a Lynchburg silversmith, who repaid Diuguid with a set of silver spoons.(3)  In 1827, Diuguid purchased property at 616 Main Street, where his business remained for over 100 years until moving to 1016 Rivermont Avenue in the 1930s.

Diuguid's Legacy of Innovation & Record-Keeping
After Sampson Diuguid’s death in 1856, the business passed to his sons, and by 1880 his son George and grandson William were partners in the family firm. Inspired by seeing President James Garfield’s coffin during his elaborate 1881 funeral, this father and son team invented the wheeled catafalque, also called a church truck, which is still used to roll caskets down narrow aisles.(4) Grandson of the founder, William Diuguid, carried the firm into the 20th century and owned the funeral home at the time when embalmer William A. Shaw would have used this kit.  William Diuguid’s daughter Mary Sampson Diuguid, great-granddaughter of the founder, operated the funeral home from 1927-1948 and had a reputation for conducting weekly cleanliness inspections of the facility.


In 1946, Diuguid’s conducted their largest funeral, that of Senator Carter Glass. James P. Wilkerson, Jr., who worked at the home for over 50 years, remembered that the funeral procession stretched all the day from Diuguid’s to Spring Hill Cemetery.  Diuguid’s was the first funeral home in Virginia to use a motorized hearse although the firm also maintained a horse-drawn hearse for those who preferred it. Through the mid-twentieth century, funeral homes, like Diuguid’s, provided ambulance service as part of their business, although this transitioned to being the job of hospitals later in the century. Diuguid’s remained within the family for just over 130 years, being sold in 1948.(5)

In addition to Diuguid's contributions to Lynchburg business history and the funerary profession, the firm has left a valuable legacy through their careful record-keeping. In 1866, their records aided the United States government in moving the bodies of Union soldiers from Lynchburg cemeteries for re-interment in a National Cemetery near Norfolk.(6)  Now available online at the Old City Cemetery’s website, the Diuguid Burial Records include all the services provided by the firm from its first entry on January 14, 1820 through April 28, 1951, serving as an indispensable resource for genealogists and historians. Visitors to the Old City Cemetery can also view artifacts relating Diuguid’s, funerary practices, and mourning customs at their Mourning Museum and the Hearse House and Caretakers’ Museum.  

1. History of Diuguid Funeral Service, http://www.diuguidfuneralservice.com/who-we-are/history-of-diuguid-funeral-service (accessed 1 October 2013).
2. Diuguid Biographical File, Lychburg Museum System.
3. Diuguid Burial Records at the Old City Cemetery: About the Records, http://www.gravegarden.org/diuguid/about/index.php (accessed 18 October 2013).
4. History of Diuguid Funeral Service, http://www.diuguidfuneralservice.com/who-we-are/history-of-diuguid-funeral-service (accessed 1 October 2013).
5. Christina Nuckols, “Longtime owner of Diuguid’s recalls business’s earlier days,” The News & Advance, Lynchburg, Va., Sunday, February 12, 1995.
6. Diuguid Funeral Home Business File, Lynchburg Museum System.

--Author: Brandi Marchant, Museum Guide

School Days of September: A Look at Several Classroom Items in Our Collection

With yellow school buses all over town, it is clear that school is back in session. September seemed like a perfect month for sharing several classroom items from our collection: a rubber stamp set from 1932, a play program from 1929, and a report card from 1883.

The Classroom Printer, a large wooden box filled with rubber stamps featuring such designs as letters, words, animals, people, and buildings, inspired this reflection on the schoolrooms of the past. Although our stamp set is now an antique collector’s item, in its day it was an indispensable piece of classroom technology. A brief history of the rubber stamp shows how its invention greatly enhanced everyday people’s ability to communicate through printed words and images.

 

The Rubber Stamp: A Small But Mighty Tool

It is always fun to see how far an artifact can take us, and this month our Classroom Printer rubber stamps will take us first to the Amazon jungle, the source of rubber trees. Long known by natives as a waterproof coating and an adhesive, India rubber was first used outside the Amazon during the 18^th and early 19^th centuries to make pencil erasers. In the 1820s, the first waterproof raincoats utilized this rubber for their repellant coating. However while the wearers might have remained dry, the rubber coating also made them sticky. Somehow rubber needed to be made more stable, and in 1839, Charles Goodyear accomplished this through the addition of sulfur. Later in 1851, Goodyear received a patent for vulcanized rubber, a hard substance that was resistant to temperature changes, non-adherent, and almost completely insoluble. When a mixed sheet, consisting of rubber with additives, was heated to 280-290 degrees Fahrenheit, the rubber sheet became malleable for long enough to press it into a mold before it hardened (vulcanized) (1). 

While there were several different claimants to the status of rubber stamp creator, evidence seems to point to James Orton Woodruff as its true inventor. In a store during the mid-1860s, Woodruff observed washtubs with names and item numbers printed on their sides using a kind of stamp. Noting rubber’s effectiveness at applying ink, he set out to make rubber stamp letters. Ultimately, he found that small vulcanizers used in dental offices could help him create the stamps he desired (2).  The first rubber stamps were usually packaged and sold in “marking sets” that included the characters on today’s keyboards (3).

The field of business was the first to make use of rubber stamps for creating more professional and cost-effective signage. No longer did a business owner have to handwrite, stencil, or pay for sign printing. Now, he could create his own signs and merchandise labels using a set of rubber stamps. In the 1920s, rubber stamp sets became popular for classroom use, enabling teachers to make flashcards and worksheets. During the Depression when it became harder for schools to afford textbooks, these stamp sets helped teachers create their own materials. Classroom marking sets, like our 1932 Classroom Printer, could be purchased from door-to-door salesmen (4). Now that we are in a day of photocopied worksheets, full-color textbooks, and educational video and computer resources, our rubber stamp set helps us reflect on the challenges and triumphs of teachers in the past as they worked to open up the world of learning to their students.

Special thanks to the Minnesota Center for Book Arts for their research assistance on the history and influence of rubber stamps.  

 

Glass’s Speller Review of 1929: Honoring E.C. Glass for 50 Years of Service

Lynchburg has shown herself proud of the Glass name as she honors the contributions of that family to our local community, our state, and our country. While Senator Carter Glass receives much attention for his distinguished political career, his brother’s name might come up more often in everyday conversation. Today’s E. C. Glass High School was named in honor of Edward Christian Glass (1852-1931), the second superintendent of the city’s schools who served in that post for over 50 years (5).

Our second school artifact, a booklet entitled Glass’s Speller: A Review in Sixteen Episodes, is the program from a dramatic production organized by the Lynchburg School Board and Teachers’ Club in 1929 to honor his 50 years of service as superintendent. Narrated by the “Spirit of Learning,” the review follows the development of Lynchburg’s schools and pays tribute to his character and contributions as it features dramatic and musical talent from the area schools.

At the close of the review, the “Spirit of Learning” adds E. C. Glass to “the list of the earth’s great scholars” declaring that “in the pioneer days of Virginia’s public school system, [he] blazed a trail in education which has since become a highway for the youth of our state.”

 

On the Roll of Honor: A High School Report Card

 

Finally, it is report card time. In February 1883, Frank Johnson was placed on the “Roll of Honor” with an average of 96 2/5 recorded on his report card and signed by F. Roane. Founded in 1871, Lynchburg’s public school system was just over ten years old, but it would still be another 16 years before the completion of the first Lynchburg High School on Federal Street between 9^th and 10^th Streets, which combined all of Lynchburg’s white high school classes at one facility (see image below). Built by noted architect Edward Frye, the Lynchburg News hailed it as “probably the handsomest and best equipped High School building in the South” (6).

Over the next ten years, Lynchburg grew rapidly and soon required a larger high school building. When the new building opened on Park Avenue in 1910, the original Federal Street building became the Frank Roane School, an elementary school named for young Frank Johnson’s teacher. In 1920, the Park Avenue high school took the name of E. C. Glass, and finally, in 1953, the present-day E. C. Glass High School on Memorial Avenue was dedicated.

To check out images of Lynchburg’s schools, some still in use and some only in memory, visit the Lynchburg Museum’s historic photo collection and Nancy Marion’s photo collection.

 

1. Sheila McNellis Asato,“Rubber Stamps – New Phenomena or Ancient Tradition” (June 2003): 5-6 (text of article provided by the Minnesota Center for Book Arts).
2. Asato, 7-8.
3. Asato, 8.
4. Maja Beckstrom, “Stamp of Approval: The Popularity of Rubber Stamps Among Artists, Collectors and Crafters is Marked by a New Exhibit at the Minnesota Center for Book Arts,” St. Paul Pioneer Press, January 17, 2004 (text provided by Minnesota Center for Book Arts).
5. James M. Elson, Lynchburg, Virginia: The First Two Hundred Years, 1786-1986 (Lynchburg: Warwick House Publishers, 2004), 367-368.
6. S. Allen Chambers, Jr., Lynchburg: An Architectural History (Charlottesville: University Press of Virginia, 1981), 317.   

--Author: Brandi Marchant, Museum Guide

 

Sunken Treasure from the Revolutionary War

In 1781, five years before Lynchburg became a town along the banks of the James River, this bottle came to rest at the bottom of the York River as a kind of sunken treasure from the American Revolution. The original ledger of the Lynchburg Historical Society (predecessor of today’s Lynchburg Museum System) offers us these clues to create a kind of map for following the story of our 18^th century treasure: identified as a rum bottle taken from a British ship sunk at Yorktown, raised after 154 years by the government, and credited to the Mariner’s Museum in Newport News, VA. With these clues, we began to try to track this bottle’s course from a British vessel in the Yorktown harbor to our collection in Lynchburg.  

Cornwallis’ Doomed Fleet: The British Situation at Yorktown (1781)

Lord Cornwallis, commander of British forces in the South, had hopes of decisively crushing the rebel war effort in Virginia, a significant colony in terms of size, economics, and influence. In August 1781, Cornwallis occupied Yorktown, having his troops fortify on land while he anchored his fleet of 5 warships, approximately 50 transports and armed merchantmen, as well as numerous captured vessels and other small craft in the harbor. Marching his troops south to confront Cornwallis at Yorktown, General Washington requested aid from French Admiral de Grasse, who sailed his fleet of nearly 30 warships to the Chesapeake Bay in late August. Although Yorktown had seemed to offer strategic promise for the British, this Virginia port ultimately became a trap that would compel the greatly outmatched Cornwallis to send many of his vessels to the river bottom (1).

Throughout September and into October, Sir Henry Clinton kept assuring Cornwallis that he would receive reinforcements, but the situation at Yorktown became increasingly more desperate. Cornwallis scuttled about 12 of his ships to obstruct a French landing and employed other vessels as fire ships, trying to repel the French. On October 9, the American and French forces began their siege on Yorktown, which opened with heavy assaults on British vessels in the harbor. As the Americans and French made gains on land and sea, the British began destroying their equipment and ships rather than allow them to aid the advancing enemy. On October 19, 1781, Lord Cornwallis surrendered his forces, which constituted one third of all British troops in North America. When he surrendered, almost his entire fleet of more than 55 vessels lay sunken in the York River (2). 

Buried Treasure from the Revolution: Underwater Recovery Efforts

After the British surrender at Yorktown, the French recovered some of the sunken material. However, most of Cornwallis’ fleet remained largely untouched until the 20^th century. First, in 1934-1935, the Mariners' Museum and Colonial National Historical Park recovered many objects, including ship timber, cannon, tools, and bottles. According to our ledger, this bottle spent over 150 years in the York River before being pulled from the wreckage during this first salvage effort. See several images of the 1930s recovery effort in the Mariners' Museum Image Collection. Many years spent in the river water account for how a green bottle could acquire this marbled appearance. To see other glass bottles recovered in 1934, check out this image of 18th century bottles in the Mariners' Museum collection. This early recovery effort predated the development of modern scuba technology, and unfortunately, it did not yield precise information the location of each shipwreck and where artifacts were recovered. Nearly 40 years would pass before researchers revisited the York River to carefully document the sunken fleet and its contents (3). 

In the 1970s, renewed interest in the sunken British fleet helped the area between Yorktown and Gloucester Point to become Virginia’s first underwater historic site and to be recognized by the National Register of Historic Places. Utilizing remote-sensing investigations and bottom searches, the Yorktown Shipwreck Archaeological Project located nine shipwrecks from the Battle of Yorktown within the National Register boundaries (4). Among these vessels was the British brig Betsy, which helped transport provisions and men and served as a “floating factory” on which the British could begin to build fortifications before delivering them to land (5).

As a kind of cross between tales of Indiana Jones archaeology and of sunken treasure from a high seas adventure, the story of Cornwallis’ sunken fleet told by this small glass bottle offers us fascinating insight into America’s past and the efforts made to study and preserve it. 

 

 

1. John D. Broadwater, “Naval Battlefields as Cultural Landscapes: The Siege of Yorktown,” in The Historical Archaeology of Military Sites: Method and Topic, ed. Clarence R. Geier, Lawrence E. Babits, and Douglas D. Scott (College Station: Texas A&M, 2010), 181; Jim Eccleston, "Events Leading to the Siege of Yorktown," National Parks Service: Yorktown Battlefield (1993), http://www.nps.gov/york/historyculture/eventstoyorktown.htm (accessed 9 August 2013).
2. Broadwater, 181-2; Jim Eccleston, "Chronology of the Siege of Yorktown," National Parks Service: Yorktown Battlefield (1993), http://www.nps.gov/york/historyculture/siegetimeline.htm (accessed 9 August 2013).
3. John F. Blair, Jamestown, Williamsburg, Yorktown: The Official Guide to America’s Historic Triangle (Williamsburg: Colonial Williamsburg Foundation, 2007), 192; Broadwater, 183; "The Mariners' Museum Opens Sea Glass: Pieces from the Collection, http://www.marinersmuseum.org/visitor-information/mariners-museum-opens-sea-glass-pieces-collection (accessed 9 August 2013).
4. Broadwater, 183.
5. Broadwater, 185.    

--Author: Brandi Marchant, Museum Guide

 

Highlights from our Crest Collecting Fan

We wanted to focus in on some of the clippings featured on our fan. There are so many interesting ones, but here are just a few . . .

Myriad of Monograms
Defined as “the combination of two or more letters in such a way that one letter forms part of another and the overall design cannot easily be separated,” a monogram was a fashionable way to creatively leave one’s mark.(1)  Popular features on stationery, personal monograms were patterned after the monograms of royals and other nobility. In fact, collectors often liked to incorporate such famous monograms into their crest collections.(2)  A 1909 Good Housekeeping article gave tips for how to craft a monogram. After you have written your initials on paper, the author urges that you let them “stand for some time exposed to the eye” and “mix together with as much warmth as possible till they seem to form a fine scheme.” Then you should “watch patiently till they appear to run together slightly,” ultimately being “pulled into various shapes or lightly molded by the hands to suit the taste of the individual.”(3) 


From the Realm of Academia

• Williams College—Williamstown, MA—Founded 1793
• Dr. Holbrook’s Military School—Sing Sing, NY—Founded in 1866—See the New York Public Library Digital Gallery for an image of Dr. Holbrook's school.
• Bishop Hopkins Hall (1888)—On the campus of Rock Point School in Burlington, VT—See a University of Vermont page for historic images of the hall.
• Miss Spence’s School—Founded 1892—New York, NY—School for Girls   
• Yale University—Founded 1701—New Haven, CT—Features the school’s shield with the inscription Lux et Veritas, meaning “Light and Truth.”
• Princeton University—Founded 1746—Princeton, NJ—Features the school’s shield with the inscription Dei sub numine viget, meaning “Under the protection of God she flourishes.” 

Fine Hotels

• Normandie-By-The-Sea—summer hotel in Seabright, NJ
• Hotel Marie Anoinette—formerly in Manhattan on Broadway & 66th St.—See the New York Public Library Digital Gallery for an image of the hotel

Selected Latin Inscriptions

• Aquila non captat muscas—“The eagle does not capture flies.”
• Promptus et Fidelis—“Ready & Faithful”
• Excelsior—“Ever Upward”—New York State Motto
• Hinc Orior—“From here I rise.”

Societies & Clubs

• Daughters of the American Revolution
• Cottage Club, a Princeton Eating Club
• Alpha Delta Phi, a literary society

1. Cresk Design. “A Brief and Selective History of Monograms.” http://cresk.nl/a-brief-and-selective-history-of-monograms. Accessed 2 July 2013.
2. Jennifer Kennard, Letterology: Letters Are Symbols Which Turn Matter Into Spirit Blog. http://letterology.blogspot.com/search/label/Monograms#uds-search-results. Accessed 1 July 2013.
3. Frederic Flagler Helmer, “Making a Monogram,” Good Housekeeping 48, no. 4 (1909), Home Economics Archive: Research, Tradition and History (HEARTH). Ithaca, NY: Albert R. Mann Library, Cornell University. http://dlxs2.library.cornell.edu. (Linked from Cresk Design, “A Brief Selective History of Monograms”) Accessed 2 July 2013.

--Author: Brandi Marchant, Museum Guide

 

 

Nineteenth-Century Clippings and the Crest Collecting Craze

Eye-catching & Mysterious Artifact

Upon discovering this mysterious piece in our collection with no note of its origin, we wondered what this eye-catching fan could be telling us about the past. At first glance, you might think that this fan is an eclectic female accessory, but we have found that it is more likely the work of a hobbyist, displaying clippings of personal memories and connections as well some that may simply have suited the collector's fancy. Research has allowed us to wipe the dust from the history of a forgotten nineteenth-century craze—crest collecting. 

Looking at our fan, we wondered how several hotels, various elite colleges, miscellaneous Latin phrases, and an assortment of monograms and other clippings related to each other and why they were assembled on this item. Seeking what clues we could gather from names and places mentioned on several clippings, we were able to place this fan in the hands of a person living in New England in the 1890s.

Living at that time, this person was in a world filled with printed material. Recent advancements in printing provided people with a new abundance of printed text and images on items such as newspapers, advertisements, cards, and stationery. From this profusion of print came the scrapbooking hobby.(1)  Having a hunch that pasting personal memories on fans must have been in vogue, we searched for more information about our “scrapbook fan,” lacking a better name at the time. After much digging, we have a European fan collector to thank for properly introducing us to our mystery artifact, an 1890s crest collecting fan.(2) 

Crest-Collecting Hobby

The hobby of crest collecting emerged in the United Kingdom in the mid-nineteenth century. In 1840 with the advent of uniform penny postage in England, folded letters sealed with wax were being replaced by letters mailed in envelopes. While wax seals had featured family crests or coat of arms, the new mailing method moved insignia to envelope flaps and stationery. These printed emblems became collector’s items with the first albums for collecting crests appearing in 1862.(3) 

Collectors primarily gathered their crests by clipping the emblems from envelopes and notepaper; however, a crest collecting industry emerged, furnishing the collector with crest sets and places to display ones collection, whether in an album or on a large fan.(4)  Becoming popular in the United States during the 1890s, American crest collecting was done on large blank fans made of cloth and lacquered wood from Japan in standard colors of white, red, and black, like ours. For more examples of crest collecting fans, check out the great historical material and images on this European fan collecting site.(5)  

1. “Emergence of Advertising in America: 1850-1920: More About Scrapbooks.” Duke University Libraries Digital Collections. http://library.duke.edu/digitalcollections/eaa/guide/scrapbooks/. Accessed 27 June 2013.
2. Special: Crest Collecting Fans. http://faechersammlung.de/monatE1.htm. Accessed 28 June 2013.
3. Edward Law, Crest Collecting: Arms, Crests & Monograms. http://homepage.tinet.ie/~lawe/. Accessed 28 June 2013.
4. Edward Law, Arms, Crest & Monograms: Sets. http://homepage.eircom.net/~lawe/SETS.htm. Accessed 28 June 2013.
5. Edward Law, Crest Collecting: Arms, Crests & Monograms. http://homepage.tinet.ie/~lawe/. Accessed 28 June 2013; Special: Crest Collecting Fans. http://faechersammlung.de/monatE1.htm. Accessed 28 June 2013.

--Author: Brandi Marchant, Museum Guide

Coming Soon . . .

Featured artifacts from the Lynchburg Museum collection will be spotlighted each month on our new blog. This venue will provide us with an opportunity to showcase some of the gems tucked away in our collection. We hope you enjoy!

--Brandi Marchant