Processing the Fries Textile Mill Collection

The Fries Textile Mill was established in 1903 by Col. Thomas Fries, then the president of Wachovia Bank. He built the mill on a bend in the New River, which he had dammed in order to provide power for his new venture. He also built a town nearby to house, educate, and supply the employees of the mill. For 85 years, the town of Fries and its people were overseen by the company administration, which owned and operated the school, the stores, and the housing. The mill processed cotton from large bales that were brought in via train into a variety of finished fabrics, which they sent all over the country. Through the years, this fabric was used to make gloves, fine garments, military uniforms, and many other industrial and commercial goods. 

A young girl with her dark hair in a bun wearing a dress, stockings, and leather shoes monitors a bank of cotton spinning machines in the mill.
One of the youngest spinners, Hettie Roberts, in the Washington Mills Company textile mill, Fries, Va. The photo was taken by Lewis Wickes Hine in 1911. Photo credit

The mill managed to stay open during the Great Depression by dramatically cutting hours without firing workers in order to keep at least a little money coming in for all of its employees, and stashing the fabric produced in a warehouse the company owned in New York. This plan worked out for the Fries Mill, it managed to stay open and running through the lean times of the late 20s and 30s. It also meant that it had plenty of stock on hand for World War II, when textiles were in high demand and many mills had closed. The 40s and 50s were a boom period for the mill. It was employing more people than ever and utilizing the most state-of-the-art technologies and techniques to create high quality cotton-based fabrics. 

Unfortunately, as time wore on the mill began to decline. The infrastructure necessary to maintain a competitive edge in the textile industry was expensive to acquire and maintain, and pressure from a globalizing market made it all the more difficult, so a series of owners decided to simply sell the business on. After several such transfers, the mill finally closed in 1988. Because the company had effectively owned the town of Fries for the better part of a century, the reactions to its closure were understandably negative. The binding force of the community had disappeared, and the town suffered. However, many residents chose to stay and forge a new way of life around that bend in the New River. The mill building itself was torn down not long after, and now all that remains is a bare patch next to the dam. 

A large red brick building complex and several smaller white outbuildings under a slightly cloudy sky, with a wide driveway in the foreground and a small grassy hill running off the right side.
The mill as it once looked. This image was taken from a business card of a Fries gift shop. Photo credit

Because of the terms under which this collection was given to Virginia Tech, it had largely sat in the backlog at Special Collections since it was acquired in 1988, although an inventory was conducted and several boxes of papers were partially processed in the interim. The work of Special Collections and the town of Fries, as well as a recent grant from the NHPRC, has allowed me to finish processing the entire collection (165 boxes!) revealing a trove of information about 20th century textile mills and the industry in general, mill towns, and life in rural Appalachia.

A closeup of a pile of several hundred rusty staples on a desk.

This processing included removing damaging metal fasteners (pictured is a small fraction of the staples removed from collection materials), rehousing the documents, getting intellectual control over the collection by creating a detailed inventory of folder titles, dates, and interventions, and evaluating any preservation or privacy concerns for the materials. The finding aid, which will be available soon, has a folder-level description of the contents of the boxes.

The collection includes records illustrating the work of the mill, including production reports, textile samples, and company correspondence, but also materials that give insight into life in a mill town, such as housing repair documents, letters to and from pillars of the community such as the town doctor and the school, and oral histories from residents and former residents of Fries.

For the first image- Yellowed and stained paper with the following written on it in blue ink:
"Washington Mills- Fries, Va.
Sirs:-
Recently I saw some samples of white curtain material that you had sent, at her request, to Mrs. [Maryane] Hutchens of Roanoke, Va. The one I liked particularly was priced at 22 cts a yard. Please send me a sample of this material and any others suitable for bed room curtains. Also send, please, samples of material in pale yellow  to go with the yellow flower in enclosed wall paper sample.
Thank you.
Mrs. Jack L. Epps
2501 Grove Ave.
Richmond Va."
For the second image- The following list typewritten on yellowed paper in black ink:
"Report of Needed Repairs of Fries High School
Session 1941-1942.
1. Window shade cords (for about 1/2 doz. windows)
2. Baseboard and moulding (beginning to decay) near boy's toilet.
3. Outside door (down stairs- facing river) needs repairs. Also ceiling of porch over this door.
4. Bell cord breaking where cord is placed into wooden handle.
5. About six or eight desks need repair and shelves placed in them.
6. One bowl stopped in girl's toilet.
7. Electric bell an one electric light in hall and lights in Miss. E. Smith's room needs repairing.
8. Electric clock needs installing.
9. Perhaps - well to check drainage from furnace to prevent future trouble. 
10. I am sure you know the condition of stove in Home Economic Cottage.
11. Three or four arm chairs need arms repaired.
[handwritten]12. 1 section of shelves in Library (Phoned by Mr. Garrison)
Signed: A. L. Garrison"
A letter requesting fabric samples and a list of repairs needed at the Fries High School

We have also recently acquired another 2 large storage bins worth of blueprints from the town, as well as about 20 decks of slides. These new materials are currently being processed, after which I will add them to the finding aid. They were being stored in the basement of the Recreation Center in Fries, and were discovered entirely by coincidence on a visit to the town (picture three excited archivists spreading blueprints over every flat-ish surface in a basement lounge area while several bemused residents look on). The building that the bins were in had severely flooded not long before, but the blueprints were unharmed by the water, thankfully. It is entirely possible that we will continue to receive similar trickles of mill-related items as more materials are discovered and we continue to engage with the community.

A line of people in front of the stage in a middle school auditorium talk to each other and look at copies of historical documents. Red auditorium seating fills the foreground.
Members of the Fries community examining collection materials at an event at the Fries Middle School on March 30th, 2019.

Sadly, the picture is not complete. We only have the materials that were left at the mill when it closed, which heavily favor the early years of operation, and certain kinds of records. It is unclear whether the missing documents were destroyed as part of a regular records management cycle, or whether they were taken at some point. Despite the gaps, the collection offers a valuable look at life in a 1900s mill town.Starting August 22nd, there will be an exhibit up in the Special Collections reading room of selected materials from the collection illustrating the broad influence of the mill administration on the town, stop by and check it out!

Christopher C. Kraft 1924-2019: A Miscellaneous Retrospective and Tribute, Including His Virginia Tech Connection, His Papers, and . . . the Story of a Close Call

Christopher C. Kraft

In the couple of weeks since the passing of Christopher Kraft, there have been many well-deserved tributes to a life of historic and significant scientific and technical achievement. As many folks may know, he joined the NASA Space Task Group in November 1958 as NASA’s first flight director, created the concept of NASA’s Mission Control, served as Flight Director for all of the Mercury flights and several Gemini missions before becoming NASA’s Director of Flight Operations. In 1972, he became Director of the Manned Spaceflight Center, soon thereafter to be named the Johnson Space Center. Kraft served as its Director until his retirement in 1982, having gone on to play an essential role in the latter Apollo missions, Skylab, the Apollo Soyuz Project, and early space shuttle flights. He was an indispensable force and presence in this country’s space program.

Kraft, a sophomore, from the 1943 Bugle

For readers interested in Kraft’s Virginia Tech connections, they are many. He graduated at the age of 20 in December 1944 (officially, Class of 1945) with a degree in aeronautical engineering. He had also been elected president of the Corps of Cadets his senior year. In November 1965, he was honored with a Convocation at Burruss Hall, where he was presented with the highest award the university can bestow on any person or alumnus, the Distinguished Alumnus Citation.

At the same event, he received from Time Magazine the original portrait used on the cover of the 27 August 1965 issue in which Kraft was featured, and, also, from the university, a Steuben Glass Eagle “on behalf of the entire VPI family.” According to the Roanoke Times, a crowd of over 3,000 was in attendance, including students, faculty, university officials, NASA colleagues, members of Kraft’s graduating class, and locals. Following the program, Kraft was also honored by a review of the Corps of Cadets on the Drillfield.

Time Magazine 27 August 1965
Time Magazine 27 August 1965

From 1970 to 1978, Kraft served on this university’s Board of Visitors. Among the many times he spoke on this campus, he gave the Founder’s Day Address at Burruss in April 1974, titled, “The Frontiers of Space . . . America’s Space Program in the 1970s” and was the featured speaker at the 110th annual commencement in June 1982. Well before he achieved the national spotlight and while he was working for the National Advisory Committee for Aeronautics (NACA, precursor to NASA) back in April 1954, he presented a technical paper, “Gust Alleviation,” to the Fifth Annual Engineering Conference on campus.

Opening of the Kraft Collection, 11 April 1986
Opening of the Kraft Collection, 11 April 1986

With regard to the University Libraries, 11 April 1986 was, likely, the most significant date in its relationship with Kraft as that was the day of the ceremony marking the opening of the Christopher C. Kraft, Jr. Papers and the establishment of the Archives of American Aerospace Exploration at Special Collections. On the program that day, in addition to Kraft himself, were Paul Gherman, Director of Libraries; David Roselle, Provost; and William Lavery, President of the University. Kraft had donated his papers, approximately 28 cubic feet of material when processed, that documented his 37-year professional career, and he would prove essential in helping Special Collections to acquire the papers of many of his NACA and NASA associates. In fact, collections from several individuals from NASA present at the 1965 Convocation went on to donate their papers to Special Collections, including Melvin Gough, Hartley Soule, John Duberg, and William Hewitt Phillips. Other collections in the group of over thirty include the papers of Robert Gilruth, Michael Collins, Blake Corson Jr., Marjorie Rhodes Townsend and James Avitabile.

Flight: My Life In Mission Control by Christopher Kraft
Flight: My Life In Mission Control by Christopher Kraft

As the details of Chris Kraft’s life can be found in numerous and just-published obituaries and tributes, as well as in his 2001 autobiography, Flight: My Life in Mission Control, I would rather offer a glimpse into certain early stages or moments in his career as represented in his Papers, and to choose a selection of items readers may find interesting, surprising, or, simply, less well-known. The collection includes more than 27 boxes and 5 large folders, so we’ll only be touching the surface. Check the finding aid for the collection to see a list of the collection’s contents. Lastly, I’ll end by retelling a story about Kraft involving a very close call that I discovered only in my preparation for this post.

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You may be surprised to find that there are a few items in the collection from Kraft’s days at Tech. There are seven lab reports from the summer and fall of 1944, all from class(es) taught by L.Z. Seltzer (and all graded, by the way . . . one “B” and all the rest “A” or “A-“) on topics such as: Turbulence Test on the V.P.I. Wind Tunnel, Yaw Characteristics of Pitot-Static Tubes, Wing Tunnel Test on Low Wing Monoplane, and Airplane Propellers Problem, among others.

After leaving Blacksburg, Kraft went to work for NACA (National Advisory Committee for Aeronautics), the US government’s agency for aeronautical research, at Langley Field, near Hampton, Va. (though not before a very funny brush with Chance Vought Corp. in Connecticut: see Flight, page 27). The war was still raging and Langley was doing important work. Kraft had been excluded from active military service because of a serious burn he sustained to his right hand as a child, and he clearly saw this work as his way to make a contribution. In those early days at Langley, Kraft did extensive work on the P-47D Thunderbolt and the P-51H, a late model Mustang, both piston-driven advanced fighters of their day. Kraft’s Papers include a good selection of this work, including various reports, calibrations, photographs, and memoranda.

You might notice that the photo farthest to the right in group above shows some of the instruments ready to be loaded aboard the Bell XS-1. Beginning in 1946, NACA began testing this aircraft and one other like it to explore flying conditions at transonic speeds. On 14 October 1947, Chuck Yeager flew faster than the speed of sound in the Bell XS-1, and Kraft’s Papers show his own involvement in this area of research. One of the documents, dated 23 June 1948 and titled, “A Free-Fall Test to Determine the Longitudinal Stability and Control Characteristics of a 1/4 Scale Model of the Bell XS-1 Airplane at Transonic Speeds” shows Kraft’s name at the top of the cover page and identifies him as Chairman, FRD [Flight Research Division] Stability and Control [Branch].

About this time, Kraft was handed another assignment to work on—gust alleviation—that is, creation of an automatic system that would smooth out the motion of an airplane when it encountered turbulent air. This is the same topic Kraft presented on at the 1954 Engineering conference at Virginia Tech mentioned above. As he was beginning this work, and as described in his autobiography:

I found a French aerodynamicist, René Hirsch, who’d designed and built a gust-alleviation airplane and was beginning to test it. We corresponded about our various plans and concerns and seemed to be in some agreement. Then he was injured when his airplane crashed. I never learned the cause of the accident. Gust alleviation was not only a mysterious quest, but now I knew it was dangerous as well. (page 41)

Draft and typed copy of letter from Kraft to Hirsch, July 1952
Draft and typed copy of letter from Kraft to Hirsch, July 1952

A reply from Hirsch to Kraft, March 1952
A reply from Hirsch to Kraft, March 1952

Well, of course this correspondence is available in Kraft’s Papers! In some cases, we have a draft version and a typed copy of Kraft’s letter as well as Hirsch’s reply. Through most of the first half of the 1950s, this problem took up much of Kraft’s time and there are many documents on the topic in the Papers. I’m no engineer, but I imagine this kind of exchange would be interesting to explore.

The collection of Kraft’s papers are arranged chronologically by year, and in the materials from 1959, following the creation of NASA (National Aeronautics and Space Administration, in case you wondered) in July 1958, documents that refer to Project Mercury begin to appear. During this time, Kraft stopped being a flight research engineer and became an engineering manager, and these documents include Mission Documents for the first Mercury-Atlas and Mercury-Redstone missions. In NASA lingo, each mission was typically (there are exceptions) named by the spacecraft, booster rocket, and number. Thus, MA-5, which took place on 29 November 1961 with Enos, a chimpanzee, aboard, was the fifth mission to fly a Mercury spacecraft atop an Atlas booster. MR-3, NASA’s first manned suborbital mission, with Alan Shepard aboard on 5 May 1961 (about three weeks after Yuri Gagarin’s “first man in space” mission), was the third Mercury mission with the Redstone rocket. Also among the documents for 1959 are notes and materials related to a talk Kraft presented to a symposium titled, The Pilot’s Role in Space Exploration (a controversial and dicey topic) offered by the Society of Experimental Test Pilots, 8–10 October 1959.

Test procedures and reports; project discussions; post-Launch reports; flight plans; post-flight debriefings of Shepard and then Gus Grissom, the second American to fly a suborbital mission: these are among the documents to be found in Kraft’s papers from these early years of the space program. The success of Shepard’s 15-minute flight was followed three weeks later by President Kennedy’s public proposal “that the US “should commit itself to achieving the goal, before this decade is out, of landing a man on the Moon and returning him safely to the Earth.” We would do well to remember Kraft’s response, as recalled in his autobiography:

The moon . . . we’ve only put Shepard on a suborbital flight . . . an Atlas can’t reach the moon . . . we have mountains of work just to do the three-orbit flight . . . the moon . . . we’ll need real spacecraft, big ones and a lot better than Mercury . . . men on the moon, has he lost his mind? . . . Have I?

Well, the rest is history. And it can all be followed in Chris Kraft’s Papers: the technical aspects, the failures, the tragedies, and the successes, but mostly the development towards that success, as revealed through the documentation accumulated by Kraft over the course of a storied career.

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But wait. There is one more thing. I promised to describe a close call in Chris Kraft’s life before ending this post. It does not involve a rocket exploding on a launch pad or anything like the difficulties of Apollo 13. In fact, I did not know about this story. Never heard it before. If you’ve read Kraft’s book, Flight, you probably do, unless you were blinking for the couple of paragraphs at the bottom of page 238 and the top of 239. Here’s what I found as I was going through our biographical file of newspaper clippings on Kraft.

That’s right. Just a few days after Kraft left Virginia Tech following the Convocation in his honor, he was flying with several other NASA officials on a National Airlines flight from Houston to Miami with a scheduled stop in New Orleans. As they were climbing out of New Orleans, a young man whom Kraft describes as “sickly” and carrying “a small paper bag” was seated by the flight attendant in the seat across from him. As Kraft tells it, the attendant said, “He’s acting funny. Do you mind if I put him in that seat across from you?”(Flight, page 238). The young man—Thomas Robinson, age 16, from Brownsville, Texas—pulled a gun out of the bag and pointed it at Kraft. As quoted in the newspaper article, Paul Haney of NASA’s Public Affairs Office and also a passenger, said, “He pointed it at Chris . . . it was only six inches off his jaw. . . . There was a click which I thought was a cocking action . . . it did not fire. That’s why I thought it was a cocking action. The kid stood up and backed toward the cockpit door and fired three shots in the floor of the lounge.”

Robinson demanded the plane fly to Cuba. He actually had two guns and fired both into the floor of the cabin. Kraft writes, “He fired both into the floor of the lounge in front of me, then he was tossed sideways as the pilot put the plane in a high-g turning descent, heading back to New Orleans.”

At that point, another passenger, Edward Haake, described in the newspaper as an electronics executive and a decorated B-17 pilot (of course) got involved. Again, from the newspaper:

Haake was the only other person in the lounge, Haney said. The husky 6-footer talked to Robinson calmly, pretending to go along with the wild plans about going to Cuba, even though Robinson now had a revolver in the other hand. “He even fixed him a drink,” Haney said.

“Then the kid calmed down and Haake pulled out a plastic holder full of gold coins. He asked the boy if he would like to see them. The kid said he was a coin collector.

“At some point along the way, the kid lowered his hands. I think he was going to reload the gun. When he put his hands together Haake grabbed them.

“Chris and I immediately jumped. I was the first one there. Haake held his hands and I threw him against the seat.

“And while Haake held him, both Chris and I helped subdue him.”

According to Brendan I. Koerner, author of The Skies Belong to Us: Terror in the Golden Age of Hijacking, Robinson pleaded guilty to attempting to intimidate a pilot, a less serious charge than air piracy. He served a brief sentence at an Arizona prison camp for youthful offenders.

As I said, quite the life!

For more on the life of Christopher Columbus Kraft, Jr. see an earlier blog post: Chris Kraft: Oral History of an Aerospace Pioneer.

Special Collections to the Rescue: In a Small Way, We Do That, Too!

Cover from the first set of instructions, Ragsdale’s Original Course of Candy Manufacturing Instructions

About two months ago, while staffing the front desk at Special Collections, I took an interesting phone call. A woman called to ask if we really had copies of Ragsdales Original Scientific Course of Candy Manufacturing Instructions and, if we did, could she get copies. If I remember correctly, she said that she had found out that Virginia Tech was one of only two libraries that held these materials. The catalog showed that we did, indeed, have it, but since she was interested in obtaining copies, I asked if she would hold the line while I went to retrieve it. It turned out to be ten sets of mimeographed sheets, each with a well-designed heavy paper cover and held together by two grommets at its top. It also turned out to be something Id never seen while working here (therein lies the fun, as I have often said before).

I got back to the phone and described what I had in my hands. She was overjoyed. I said that we were talking about approximately 90 scans—not a problem—but that the grommets could be a problem. It would be impossible to scan the sheets without unbinding each set of instructions. Typically, we would want to remove the metal, but I would have to see if the grommets could be safely removed without damaging the documents. Ten years as an archivist and Id never removed grommets. Surprise, surprise!

I hope youll see what you can do, she said.

I saw no copyright notice, but each of the folders/volumes carried a big WARNING:

Statement from back cover of each set of instructions
Statement from back cover of each set of instructions

I was not too worried about the threat of prosecution from Mr. Ragsdale, and even though the items cataloging gave its pub date as 1930 (Worldcat says, approximately 1930?), I was more than willing to scan the entire set for our patron . . . if I got past the grommets. That was before I heard the story behind the request.

She was calling from Nebraska. It was the end of March. Her house had been completely flooded in the history-making flood that had occurred about 2 weeks before. These booklets had been in her family for a couple of generations and were cherished. More than that, they were part of her familys story. And, they were gone. She specifically mentioned the recipe for fruit cake fudge—a great favorite.

That was more than enough for me, and I told her I would get back in touch with her when I knew more. A couple of days later, I reported that the grommets were out and the scanning had begun. I thought I had heard there was a specialty tool for removing grommets, but, in the end, a small pair of wire cutters (used primarily not to cut, but to bend the metal) and an equally small needle-nosed pliers did the trick.

Of course, as I was scanning the materials, I became more interested in their origin. First, Worldcat does report that only Virginia Tech and Rutgers have these materials. (We acquired them in 2013, not that long ago. One of our major collecting areas is the History of Food and Drink.) But what of these lessons, and what might we find out about W. Hillyer Ragsdale?

The lessons were not written for folks who wanted, occasionally, to make candy, but were for entrepreneurs or established small business folks who wanted to make and sell various kinds of confections. The cover page of the booklet titled, Beginner’s Work Sheets and Special Supplement . . . declares:

Statement on page one of Beginner’s Work Sheets and Special Supplement

On page 2 of the same set, under the subhead, Selling Plans, Ragsdale writes: As you are perfectly aware, the market for candy is absolutely unlimited. Its sale is no longer confined to the corner confectionery store—but department stores, tea rooms, grocery stores, drug stores, cafeterias, office buildings, road stands, amusement parks, fairs, and hotels all sell tremendous quantities. Ragsdale includes lots of practical advice for the business of selling confections in this folder, everything from buying attractive boxes (cheaply) for display and packaging, to staying up-to-date by reading the appropriate trade papers. As for the recipes in this lesson, they include Almond Crunch (a delightful nut piecevery popular everywhere. Usually sells for 80 to $1.00 per lb. retail.); Haystack Goodies; Maple, Mocha, Pistachio Fudge, and the curious Chop Suey Candy (“take a popcorn crispette, but add roasted peanuts and concoanut . . . more corn and cocoanut than peanuts”).

Our patron from Nebraska told me that her family had these in the 1920s, that her grandmother had passed them down to her mother. Certainly, as early as October 1923, Ragsdale’s ads appear in the Newsstand Group advertising supplement to Smart Set: A Magazine of Cleverness, then edited by H.L. Menken and George Jean Nathan. In fact, In his autobiography, My Life as Author and Editor, Menken writes about the introduction of this kind of advertising to his posh, literary magazine:

H.L. Menken and GEorge Jean Nathan, August 1928. Theatre Magazine Company; Ben Pinchot, Photographer

Inasmuch as all the other members of this group [Newsstand Group] were such dubious pulps as Snappy Stories, Breezy Stories, and Youngs Magazine, Nathan and I were perturbed more than gratified, and our doubts were not allayed when we saw the advertisements that began to come in. They included everything in the shabby line save lost manhood and bust developer ads, as we had to take a pretty severe kidding from readers and friends.

The ads in Smart Set started with a couple of pages, but by December 1922, there were 23 pages of advertisements. Look to the November 1923 set of ads, and there is W. Hillyer Ragsdale at Drawer 400, East Orange, N.J. proclaiming:

Ad for W. Hillyer Ragsdale’s Candy Making opportunities, Smart Set, November 1923

“GO INTO BUSINESS FOR YOURSELF,” right there between Dont Wear a Truss and a bust developer ad! Menken, in the same passage quoted above goes on to write of that December 1922 supplement, There were several ads headed Send No Money and half a dozen or more announcing ways to make fortunes by spare-time work at home! Ragsdale was right there.

So, by 1923, Ragsdale was running ads enticing folks to Establish and operate a New System Specialty Candy Factory, using some of the same language that appears in our sets of lessons. Also by 1923, Tools and Machinery for Confectioners by W. Hillyer Ragsdale, The Candy Specialist, becomes available. Here are the first three pages, including a price list (From the Alan and Shirley Brocker Sliker Culinary Collection, Michigan State University Libraries.)

Heres his ad from the November 1929 issue of Popular Mechanics, promising enormous profits:

Ad for W. Hillyer Ragsdale’s New System Specialty Candy Factories, Popular Mechanics, November 1929

Throughout the 1920s, Ragsdales business must have grown. Perhaps the 10 sets of lessons were available at once; perhaps they were developed over a few years. We do know that Ragsdale was born on a farm in Lithonia, DeKalb County, Georgia in 1876. According to census data, in 1900 he was living at home and employed as a clerk in a drugstore in nearby Kirkwood, Georgia. By 1910, he had relocated with his wife, Wilhelmina (Willie) to East Orange, N.J. where he was working as a traveling salesman possibly for a department store. The 1920 US census lists his occupation as Proprietor, his status as Employer, and the Industry in which he was engaged as Jobber Confectioner Supply House. At the very least, by 1920 the roots of his candy-making endeavors were firmly in place. A notice on the Antiquarian Booksellers Association website dates the set of lessons as ca. 1920s?”

Vintage Ragsdale Candy Thermometer

In David Lawrence Piersons History of the Oranges to 1921, Vol. 4 (Orange, NJ: Lewis Historical Publishing Co. 1922), Ragsdale is reported to have come to East Orange in 1908, where he established and built his large business as a manufacturer and jobber of confectioners supplies. Pierson also writes that, as of 1922, Ragsdale was a director of the Lackawanna Building and Loan of East Orange. We can assume that his business was quite successful, at least through the early part of the depression. In 1930, Ragsdale is listed in the census as manager of his Confectionary Supply Company. By 1940, however, at age 63, he was employed as an investigator for the New Jersey State Beverage Tax Department. William Hillyer Ragsdale died in East Orange in 1957, but the traces of his candy-making business can still be found quite easily. It is not at all hard to find some of his equipment, for example, especially his candy thermometers, on eBay.

But the sets of instructions in candy-making for profit are the trace that continue to hold significance for our patron in Nebraska. After wed gotten the scans to her, about three weeks after our phone call, I asked her if she would send me a bit of her familys story in connection with these sets of instructions; also if I might retell that story in our blog. Heres what she wrote (copied with permission):

“My grandmother passed them down to my mom. So, since the 1920’s. They were really prized. When my mom’s family was young, her father came down with tuberculosis of the liver. That knocked him out of working. My grandmother, being an excellent cook to seven children, and having a brother that owned an ice cream store in Massachusetts, set out to do the confections. They were sold through the brother’s store and during the holidays, the kids would go door to door. Then the depression happened and finding work was even more hard to do. They kept their business going. They were hard workers. They rallied around my grandfather. There were four boys. When the war broke out, they left to serve their country and of course, they were no longer involved in the candy making business.”

She also wrote this:

“We’re still under water where the farm is. It’s going to take a long time . . . but, we are hardy people and will probably just rebuild. . . . I’m going to be sharing them with Mom on Friday. I haven’t told her that I got them replaced. I know what this means to her.”

A little over a month after the flood, still under water. That made me think about a lot of different things. After considering how horrific it must be, how staggering to have such an event occur and how more common weather events of this historic proportion are becoming, I thought about how short our news cycle is. Perhaps it’s just because we are east-coasters, but we stopped hearing about midwest flood waters about a day or two after they first hit. Every big rain in April added to the disaster. Incredible.

But then, hearing about her plan to surprise her mom with the material Special Collections was able to provide, well, I was glad to have been able to help in a very small way. Ive probably never felt so good about providing a patron with scans from our collections.

Oh yes, and she again mentioned the fruit cake fudge. If you make it, she says, you have to add some peach Schnapps to it! I’m guessing this is it:

Fruit Fudge Bar from Lesson 23, Ragsdale’s Scientific Course of Candy Manufacturing

The Western Lunatic Asylum

Insane Asylums have been a part of horror movies and ghost stories for decades. From shows like American Horror Story to Shutter Island, there are many portrayals of what it was like to be treated for mental illness in the 1800-1900s. However, when it comes to the real story about old asylums, not all institutions were set up for jump scares.

The Western Lunatic Asylum was founded in 1825 by the Virginia State Government. It was the second mental health facility established in the Commonwealth and took patients that could not function in society but had hope of recovery. The first director of the hospital was Dr. Francis T. Stribling, who was also the first graduate of the University of Virginia Medical School. Stribling believed in humane treatment for those suffering from mental illness and applied the concept of Moral Medicine to his practice. Appointed in 1836, Stribling served as the director of the asylum until his death.

The Western Lunatic Asylum collection currently consists of an annual report from the asylum from 1903 and numerous letters written to Stribling between 1840 and 1868. This collection gives you an insight into what everyday life was like for the patients and family who were connected to this institution. It strips away all the haunted hallways and creaky doors and tells the stories of brothers, sisters, parents, and children whose loved ones are under Striblings care. It also gives you the chance to see into the mind of patients who were treated at the asylum when they write back to Stribling to discuss their condition.

Western State Hospital Annual Report 1903

The annual report (pictured above) introduces this collection perfectly. Situated in the first folder of 14, it acts as an exposition chapter, setting up the scene. While the report is from a few decades after Striblings death, it helps you understand how they ran an institution like this. Some of my favorite highlights of the report are the section titled Occupation, Recreation, and Amusements which talks about how they divert the disordered minds of [their] patients again into normal channels by alternating their schedules between jobs around the asylum and entertainment like weekly dances, concerts, and games. The statistical tables are also fascinating, detailing information about how many people were admitted, what they were admitted for, and how long it took to cure those who recovered.

As mentioned above, there are two main types of letters in the collection: The Families and The Patients.

The letters from families range from those appealing to the doctor to admit a new patient to those asking about the status of current patients (Above). Many of those with family members in the asylum also mention sending money or clothes. Letters from former patients are primarily written to Stribling to update him on their status after being released from the hospital. Some are thriving and thankful, but most seem to write the doctor when they are experiencing symptoms of relapse like the one pictured below.

There are also a few business letters like the one below that informs Stribling of a woman that had “been examined according to laws & found to be a fit subject for the Lunatic Asylum at Staunton.”

This collection really feels like a window into the past. After months of scanning and transcribing these letters, it feels living in a way, and that isnt just because we find new letters to add every other month causing it to continuously grow. Each time a new one comes in its a privilege to be able to read them and add that persons story to the rest of the collection.

Make some women in architecture more visible to the worldwe promise its easier than you can imagine!

ArtWikipediaEditGraphic

WHEN: March 2019 (and beyond)
WHERE: Wikipedia (see the project page)
EXPERIENCE: None, just get started!

We love getting together to collaborate on editing, but we also realize everyone is very busy! Fortunately the highly connected world we live in allows us to bolster the sense of community that we can create through online collaboration.

Enter Wikipedia.

As the worlds most popular online research tool, serving as the firstand oftenonlystop for many people looking for information on a wide range of topics ranging from general to technical subjects, biographies, and so forth. Frequently touted as an unbiased resource, analysis has shown that there is an alarming gap in content by and about women and other underrepresented groups, falsely suggesting that their contributions to their respective fields are either unimportant or non-existent(read more about that here). Lets help fix this!

Even if you have just five minutes between meetings you can update a resource. Add some images to a page, add a link back to the archival holdings or finding aid from a university, update the citations, proofread a paragraph, or add in-article links to other relevant Wikipedia content.

Have a few more minutes? Add a bio box, create a translation in another language, significantly edit an article, find and upload copyright-free images to Wikimedia Commons, add significant sections such as Career, Early Life, and Seminal Works, or add a completely new article entry.

ArchitectPortraits

You dont necessarily need to set up a Wikipedia account to edit! You can get started just by opening an article page and clicking edit at the top of the page. That said, we’re working through the annual Art+Feminism initiative and the important work of tracking statistics is only possible if we all register and use the project dashboard.

To get started. weve created a page with articles to edit, suggestions for areas of enhancement, links to relevant resources for adding content and citations, and links to images in Wikimedia Commons.

Lets spend the remainder of March 2019 updating resources together. Let us know about your progress on the project resource page and make sure to tag @VT_SCUA and #ArtAndFeminism on Twitter or reach out to the IAWA page on Facebook to let us know what youre working on!

Lets make it social and build a community around this important work. Looking forward to seeing the change that we, together, can create!

A New Group for Archivists of this Region

UPDATE: The committee mentioned below in this post from February 2019 is active and ongoing! If you’re curious to know what appalachian archivists are up to, visit our newsletter, published online three times a year, the Appalachian Curator.

Logo of the Appalachian Studies Association
Logo of the Appalachian Studies Association

This year, a new standing committee will be making an appearance at the annual meeting of the Appalachian Studies Association (ASA), to be held next month at the University of North Carolina, Asheville (UNCA). There has been no formal organization of Appalachian Special Collections archivists and librarians since the Appalachian Consortium disbanded in 2004, but due to an effort headed up by Gene Hyde (UNCA), this absence has now been remedied. Initial interest in the formation of this group was received from archivists representing Appalachian State University, Mars Hill University, Western Carolina University, East Tennessee State University, University of Kentucky, Berea College, Virginia Tech, Marshall University, Radford University, West Virginia University, University of Tennessee at Knoxville, and Morehead State University. Rachel Vagts of Berea will serve as the new committees first chair.

While there are regional organizations of archivists defined by the boundaries of states or groups of statesMid-Atlantic Regional Archives Conference (MARAC), for example, includes states from New York to Virginia, while North Carolina and Ohio have organizations of their ownthe Appalachian region cuts across these boundaries. Also, these are organizations, overwhelmingly, of, by, and for archivists. By having an increased and formal presence within the Appalachian Studies Association, archivists of the region will gain an opportunity to create a larger profile for themselves and their repositories among scholars of the region and share more directly in the exchange of ideas among people working in the region.

In part, the new group will update and continue the work of the Special Collections committees that existed under the Appalachian Consortium. This work may include identifying and providing information about Appalachian repositories, facilitating the exchange of information between repositories, assessing the needs of larger and smaller repositories, and providing information and services to repositories. New tasks may include offering workshops, exhibits, and sessions at future ASA meetings; exploring external funding sources for shared projects; and encouraging and recognizing new scholarly work in the area that uses primary source materials.

One task that has already begun is the rejuvenation of the Appalachian Curator newsletter. From 1986 to 2004 this newsletter existed as a print publication under the direction of the Appalachian Consortium. The new version will go online next month, in time for the ASA conference, March 1417. A new editorial board is in place. Articles and news items are being collected. The URL for the newsletter will appear here as soon as it goes up!

Notations in Passing: Sketches, Notes, and Ephemera from the International Archive of Women in Architecture

Notebook age with notes and building sketchesArchitectural practice is full of moments of quick, insightful sketching. These bits of paper show the need to record an otherwise fleeting design idea or to communicate a thought when words are insufficient. Sketches made during student years show the process of working through architectural design and honing drawing techniques. These drawn remnants turn up in many architectural collections in the form of notes, scribbles, and concept sketches. They offer valuable insights into the career and studies of an architect and they also offer pure visual pleasure and inspiration to other creative individuals.

The sketches, notes, and printed ephemera that follow showcase just a few of the many notations that can be found across architectural collections in the International Archive of Women in Architecture.

School notes and drawings
1946
Ink and graphite on paper
Jean Linden Young Papers (Ms1988-022)


Notes and sketches recorded by Young during her architectural studies at the University of Illinois document her process of learning about different types of classical architecture. Her sets of alternately highly-detailed and quick sketches illustrate the extensively-noted concepts put into practice.

Second Street studies
Undated
Graphite on paper
Dorthy Alexander Architectural Collection


This set of concept sketches from an undated project shows the importance of using quick drawings as a way to brainstorm and work out design details.

Why dont you be an architect?
c. 1975
Printed brochure
Dorothee Stelzer King Architectural Collection (Ms2013-023)

ms2013_023_b001_f008_001_per_ms_003_01ms2013_023_b001_f008_001_per_ms_003_02

This brochure promoting the study of architecture was produced by the Alliance of Women in Architecture (AWA). Among other the content, the text asserts that architects have variety in their work.

Architects: design, plan, draw, study, supervise, criticize, organize, photograph, sketch, collaborate, travel, teach, research, solve problems, and communicate ideas.

Nearly all the collections in the IAWA contain loose drawings, fragmentary scribbles, and marginalia. A few more parting images from Susana Torre, Eleanore Petersen, Olive Chadeayne, and Jean Linden Young.


For more information on any of the IAWA collections visit Virginia Heritage to peruse the finding aids and visit Special Collections at Virginia Tech to view the originals.

Altered Images and Words: A Call for Creative Submissions

Make an animation. Make a gif. Make a collage. Write some microfiction. Write a poem. Get out your digital black-out marker to create some redacted poetry. Make something entirely unique that was inspired by an image or string of text. Remix and stretch your creativity. Archives are here to inspire!

Archives matter. They preserve records of human history and offer glimpses into the past. Historians mine them for the sources that make up their books and artists, musicians, and writers pull inspiration for their creative works. Genealogists seek out threads of family history and alumni find scholastic treasures.

October is American Archives Month and to celebrate special collections departments everywhere we’re holding an Archives Remix event all month long. Take some inspiration from the Virginia Tech Library archives and stretch your creative muscles by producing a visual or written work that uses one or more of the VT Special Collections images that are posted above.

Share your work on social media (Twitter or Instagram), tag #VTArchivesRemix and @VT_SCUA, and let us know which image(s) inspired your work. We’ll be sharing your artwork and written pieces all month long!

Send us your creations:

Crumbling under the weight of words:
Send us a piece of microfiction inspired by one or more of the images. Economy is key, so make sure to exercise efficiency of language. Submissions should be 200 words or less.

Altered images:
Use one or more of the images to create a new visual work. Think beyond boundaries and remix the images with your own work or repeat elements of the same picture to create something entirely new. Stills or animations, collages, videos, photographs, memeswe want to see it all.

Brief and bold:
Poetry is the ultimate in brevity and elegance of prose–no room for stray words or useless turns of phrase. Take inspiration from a fleeting image or line of text. Redact words on an existing page to unveil something entirely new. We can’t wait to read your poems, written or redacted.

Choose from the following images to inspire your own works:


Need a little extra inspiration?

  • Read this incredibly moving microfiction piece, Sticks,by George Saunders.
  • Explore eleven amazing pieces of microfiction.
  • View some collages and gifs from the Mid-Atlantic Region Archivists Conference (MARAC) and from the Library of Congress.

  • Learn about redacted poetry and read some phenomenal examples.
  • Delve into practice with this Atlantic article about the process Lydia Davis uses to create her very short stories. It’s worth visiting just to read her 69-word composition In a House Besieged.

Check out the following link if you want to see more images and consider also entering the Virginia Archives Month 2018 Archival Oddities Remix Contest.

We can’t wait to see what you produce!

Trajectories of an Architects Design Sensibilities: From Student to Practitioner

Model of architectural design project.
AustellungsbauVariabelTransportabel, Architectural model, 1962

The beginning of the fall semester and the nearly overnight return to a bustling and lively campus provides a good opportunity to reflect on the essential thing that we do, which is to educate. Student works are common discoveries in the collections that form the International Archive of Women in Architecture (IAWA) and can tell us either about an architects own practice or their methods of classroom instruction. This post will focus on the former, with an eye to the role that archival collections can play in examining design sensibilities within the context of a developing architectural practice.

Drawing showing elevation and site plan sketches.
Concept drawing, Bahamas Nursing School, c. 1985.

One of the most profound ways to understand the progression of the aesthetic sensibilities of a creative professional is to examine their works (including inspirational materials, writing, and sketches) across their career. Looking at materials that span yearsor even decadesoffers a glimpse into how their style evolved, was refined, stayed constant, or in some cases shifted radically. With architects it is possible to trace the development not only of their design considerations, but also the changes in drawing techniques, enhanced observational skills, and a deeper understanding of spaces. It is often possible to see how they refine and expand their understanding of the outer world, visual culture, and the impact of spaces on the people who inhabit them.

Photograph of architectural model.
AustellungsbauVariabelTransportabel, Architectural model, 1962

The Exhibition HallVariableTransportable project was completed by Dorothee Stelzer King while she was an architecture student at the Hochschule fur Bildende Kunste in Berlin, Germany. Completed the same year that she received her degree, the project was based on a first-year design exercise involving the enlargement of a simple shape to create a complex design without adding extra material to the final structure.

Document outlining requirements and development of the project.
Description and requirements of the award-winning portable exhibition hall project.

 

Drawing showing interlocking shapes.
Concept drawing showing how a basic triangle is repeated and extended to create interlocking stars and circular forms that in turn interlock to create flexible, modular shapes.

 

Elevations, site plans, and details.
Elevations, site plans, and detail drawings for AustellungsbauVariabelTransportabel.

Ms2013-023, Dorothee Stelzer King, Folder 3Ms2013-023, Dorothee Stelzer King, Folder 3

The Dorothee Stelzer King collection also contains works that the architect completed at various points during her professional career, allowing researchers to study the progression of her designs over time. The series of concept drawings and plans for the Bahamas Nursing School in Nassau, Bahamas, shows Kings attention to understanding how educational spaces and their inhabitants interact. While the drawings show a move away from the more experimental design work seen in Exhibition HallVariableTransportable, they showcase a greater understanding of the practical nature of educational facilities and the importance of proper acoustics, seating, structural elements, and paths of movement through interior spaces.

 

Site plan drawing.
Location plan, Bahamas Nursing School, April 16, 1985.

 

Construction photos.
Construction photographs showing exterior and interior spaces, including structural elements, of the Bahamas Nursing School project.

Ms2013_023_B001_F020toF024_002_BahamasNursing_Scrap_120Ms2013_023_B001_F020toF024_002_BahamasNursing_Scrap_118

Many other student and professional design projects and records can be accessed in the Special Collections Reading Room at Virginia Tech. The finding aid for the Dorothee Stelzer King Architectural Collection can be viewed online at Virginia Heritage. The collection is currently being digitized with funding from the Council on Library and Information Resources (CLIR) and will be available in full through the Virginia Tech digital library.

Merging Major Interests

Double Majors at Virginia Tech are becoming more common. Partially as a need to stand out among others, partially as a method of seeking more specific educational goals. I am a double major in English (Creative Writing and Professional Technical Writing) and Industrial and Systems Engineering (ISE). I am frequently asked how this could possibly be a good combination? Where will I ever apply both?

My answer is traditionally communication between engineers, management, and the public need to be clear and concise. Interning at Special Collections has helped me to broaden that statement by giving me the opportunity to archive Engineering Collections. I started with transcriptions and gradually worked my way up to understanding and organizing collections of multiple boxes. When I was experienced enough in archiving, I was allowed to choose the collections I wanted to archive. From this point on I witnessed firsthand example after example for the ways in which my degrees worked together. Most examples seemed to be reports and instruction manuals.

I continued to learn more about organization and private company improvement over time as I worked through collections. I was also able to work with interesting subject matter like NASAs Wind Tunnels and the collection I am currently archiving, the Avery-Abex Metallurgical Collection. From each I learn something different. Throughout the Avery-Abex Collection, I have come to better understand manufacturing processes and plant systems by organizing the businesss internal and external papers. From this experience I was also able to develop a deeper understanding of the applications of professional writing as an engineer.

My favorite part about working on the Avery-Abex collection is that I had to develop a method of organization that would restore order to the case files. Most of the collection boxes are sporadically numbered. There will be files from 1946 -1948 in box 114, 152, and 75 for example. I had to find a way to pick and choose which boxes to chip away at and how to label them in such a way that the materials fit the company timeline. The solution was to organize by case number, one of the few details listed on each box. However, many of the files are metallurgical samples, negatives, lantern slides, and even reels of film. So I had to develop number codes for the different types of material to keep track of where materials were going and what materials had been processed. The whole experience really tested my ability to think through the given materials.

As I got further into my ISE major, I began to learn more about facilities, systems, and linear programing problems to organize everything and create a more efficient environment. I began to see this in my work at Special Collections as well. As a scholar, a student, there is a moment when you can see dots connecting. The feeling is incredible because you go from understanding theory to seeing it in application. I started to get a lot more out of the work I was doing because I was able to understand deeper connections between the systems engineering that I was studying and the workplace/warehouse type environment where the theory was applicable. The more I saw ties between my majors and my work, the more interesting each shift became. I wasnt just dating papers, I was developing a system that will become a resource for students and researchers.

My time with Special Collections has never been dry. I will be returning in the fall to continue my work on the Avery-Abex collection. I look forward to what the future of this collection holds and everything that I will be able to learn from it.

By Kaitlyn Britt