Civil War painting: How do you move history?

With extreme care -- and a lot of expertise.

Later this week, cranes are expected to pluck a colossal painting depicting a Civil War battle from an Atlanta museum that was its home for nearly a century.

The painting, sliced in two and rolled onto enormous steel spools, will be placed on two flatbed trucks for a 12-mile journey to its new home, the Atlanta History Center in the city's Buckhead neighborhood.

Moving an artwork this big is an ambitious engineering endeavor and requires a small army of specialists, from art conservators to crane operators.

And like the aging painting itself, the story behind the artwork, "The Battle of Atlanta," is almost larger than life.

Why was it painted?

Imagine what life was like in the United States before movies and television -- not to mention CGI and other forms of augmented reality. You had to go to the circus or squeeze into a courtroom gallery at a juicy murder trial to find an attraction with a "wow factor."

In the late 19th century, along came paintings called cycloramas -- massive, 360-degree renderings of landscapes, city skylines and war, including this one about the 1864 Battle of Atlanta. The painting was intended as a tribute to a Northern victory.

Cycloramas were about making big bucks, and companies turned them out as fast as they could. Sometimes they would make two copies.

After a year or so in one spot, the paintings -- the IMAX theaters of their day, according to Jackson McQuigg of the history center -- were rolled and moved to another round building to be displayed before new crowds of customers.



Although the heyday of cycloramas in the United States lasted only a few decades, 72 full-size works still exist across the globe, the International Panorama Council told CNN. Not all are on display. China is the most productive country at c reating new ones.

'The horrors of war'

To paint the Atlanta battle, the American Panorama Company in Milwaukee employed a small army of artists -- OK, maybe 20 guys, most from Europe -- to create a work "intended to please Northern audiences" (read Yankees).

The Battle of Atlanta, fought on the afternoon of July 22, 1864, was a decisive moment in the war, and many historians say the fall of the city more than a month later -- during a time the war was grinding on -- helped re-elect President Abraham Lincoln.

As shown in the painting, Rebel troops have broken the Union army's line and federal reinforcements are riding to the rescue. One vignette shows Federal commander Maj. Gen. William T. Sherman and an ambulance carrying the body of one of his favorite subordinates, Maj. Gen. James B. McPherson.

The focal point of the sprawling painting is fierce fighting around a house, with Confederates firing from behind cotton bales. Federal troops and cavalr y are rushing toward that point.

"It is the moment when you are on the cusp of Federal victory," said Gordon Jones, senior military historian at the Atlanta History Center.

Charlie Crawford, president of the Georgia Battlefields Association, said the artists did a good job of capturing a moment: "The scene captures the horrors of war: Dead and dying men and horses, broken equipment, dust, dirt (and) smoke."

How did they paint it?

The artists came to Atlanta twice and studied the landscape from towers. They interviewed veterans of the battle and made sure their paint colors matched Georgia's red clay and pine trees.

Photographs of 1/10-scale sketches (above) were distributed to the artists, who worked on scaffolds under the direction of the lead artist, filling in grids projected onto Belgian linen.

These guys were really good at their craft. One artist might specialize in horses while another focused on human figures and faces. They made tw o copies of the Battle of Atlanta painting, although the second no longer exists.

While they got a few things wrong -- "Old Abe," the bald eagle mascot of the 8th Wisconsin Infantry, wasn't really at the battle, and there were no clouds on that muggy day -- veterans and their families were impressed by a work of art that vividly captured the sound and fury of battle.

"This was a way for the veterans to share their combat experience. This is better than going to the battlefield," Jones said. "When you see this, you can say, 'Son this is what I did. This is my experience.'"



Boosting the 3D effect

The painting debuted in Minneapolis in the summer of 1886. After a few moves and a lot of financial distress for owners, the Battle of Atlanta in 1892 ended up in Atlanta -- but not before tweaks were made to appease a Southern audience.

A knot of frightened rebel prisoners was repainted as fleeing Union soldiers. And a newspaper ad came up with an alternative fact to promote it: "Only Confederate Victory ever Painted."

Cha-ching!

In the really old days, viewers would simply climb onto a wooden platform to gaze at the painting. A large revolving stage was added 35 years ago.

But while patrons might enjoy the recorded narration and spotlights on certain battle features, they never got the full effect of being able to turn around and see the entire painting.

Officials in the 1930s came up with another way to promote a 3D effect. They added replica cannon, railroad tracks and 128 plaste r soldiers to a diorama built between the painting and the viewing platform.

Why move it?

By 2014, the Atlanta Cyclorama & Civil War Museum was feeling its age and attendance was mostly in decline. Zoo Atlanta, which sits next door to the Cyclorama in the city's Grant Park neighborhood, wanted to expand.

What to do? A decision was made to move the city-owned painting into a new building at the Atlanta History Center. Observers worried the old building was contributing to the painting's slow deterioration. A recent visit to the brick-walled, circular room showed some water seepage on the floor.

About 50 people, among them German and Swiss experts, have worked at the Grant Park building to prepare for the move. Many more are finishing its new home in Buckhead.

Officials traveled to the Gettysburg battlefield in Pennsylvania to glean ideas from a similar project a decade ago. There they spoke with Sue Boardman, a Licensed Battlefield Guide who served as research historian for the Gettysburg Foundation during its project. She understands the stakes when moving such a rare and unwieldy piece of art.

"For all of us ... there is no room for mistakes," she said. "It is a piece of history that is irretrievable."

The tricky part

The technology used to "scroll" a painting for a move is a little bit old and a little bit new.

Workers spent much of 2016 preparing the painting. Strips of cloth were added for attachment points used in the scrolling. Conservators went over every inch, looking for loose paint, said McQuigg, vice president of properties for the Atlanta History Center.

Then came the tricky part. The twin 45-foot-tall metal scrolls were assembled so the painting could be rolled, using a rail system with trolleys. Crews installed various pieces of hardware to help connect the canvas and the giant scrolls. There were many steps in preparation for the scrolling.

"Imagine a fl at piece of canvas with paint on it. If you roll it face in, the pressure will be on the edges of that paint. It's going to want to buckle," said Jones. "If you roll it face out, your curve is on the inside. Your outer paint level is going to expand and not buckle."

It took three to four days to slowly roll the linen and backing.

Boardman of Gettysburg said cyclorama workers in the 1880s typically used a pulley system and worked with wooden scrolls that had to be moved as the painting was rolled. It took much longer back then.

Moving day

Officials hope to make it happen this week, but that could slip, depending on the weather.

Two holes will be opened on the concrete roof of the old Atlanta Cyclorama at Grant Park. One crane will do the "big pick" and lift each spool completely out of the building.

A second crane will attach a line to the bottom so that the shrink-wrapped painting can be placed in a horizontal position.

The spools w ill be loaded onto a flatbed truck and covered with tarps. The two trucks will travel by night, when traffic is lighter, on an undisclosed route to the Atlanta History Center.

Then the spools will be lowered on the second day of the move through a hole in the roof of the Lloyd and Mary Ann Whitaker Cyclorama Building.

The real work begins

After the painting is rolled out on a new support system, the real work of conservation begins. The old varnish will be replaced and a new lighting system installed. Jones said a 1979-82 conservation project led by http://www.oilpaintingfactory.com/famous-artist.html Gustav Berger did much to help preserve the paint and the vital supporting lining.

Another piece of Atlanta history will usher visitors into the cyclorama wing. The locomotive Texas, famous for its part in the "Great Locomotive Chase" during the Civil War and its role in keeping freight movin g as the city rose from the ashes after the Civil War, also is being restored.

It will return from North Carolina and be added to the museum sometime in May.

Making a huge painting even bigger

The revamped Battle of Atlanta painting also will get even bigger.

In 1921, the installation crew at Grant Park had a wee bit of a problem -- the painting was too big for the building. The solution? Lop off a 6-foot-wide section of the battle scene (fortunately, near an entrance tunnel).

The Battle of Atlanta also lost nearly 8 feet of sky over the years as workers installed it in different buildings.

After nearly a century, all those deleted pieces will be restored.

(Officials will have to decide whether to keep or paint over clouds that were apparently added in 1922 to cover up water damage.)

The restored painting will finally have the proper perspective: Until now, the painting hung like a shower curtain and there we re folds and creases. When the painting reopens next year, the aim is to return the "immersion" effect.

The Battle of Atlanta will be displayed in its original hyperbolic, or hourglass shape. Through proper tension at the top and bottom, the painting's horizon will appear closer to the viewer, restoring the original 3D illusion.

You'll be able to see the whole painting: At Grant Park, patrons sat on a carpeted revolving grandstand, which kept them from taking in the entire painting at once. At the AHC, visitors will gaze from a platform 15 feet above ground. The diorama will be rebuilt. The idea is to remove as many obstructions as possible and let the painting make its own statement.

"I think (visitors will) better understand the battle, which is critical to educating people about its importance," said Crawford.

Telling an old story in a new way

Once it reopens in autumn 2018 with related exhibits, visitors to the Atlanta Cyclorama will be able t o have a "behind the scenes" view of how the whole production was put together and can spend more time on the platform, looking at every detail of the painting.

The AHC also will tell stories related to the painting, including its correlations to Atlanta's history and the civil rights movement of the 20th century. Officials say the work previously was interpreted in many ways, from extolling the emergence of the "New South" after the Civil War to the "Lost Cause" narrative, which proclaimed the conflict was more about states' rights than slavery. That interpretation is out.

But there's another important reason for preserving the Battle of Atlanta painting, Boardman and Jones say. At Gettysburg, you can still visit the battlefield depicted in that Cyclorama and see for yourself where Pickett's Charge occurred.

Growth and development have erased most of what Atlanta looked like in 1864.

"Since so little of the Atlanta-area battlefield remains, the painting is an important visible reminder that significant events happened here," said Crawford, of the preservation group.

"It makes it all that more important to have this artifact," said Jones.

This is the seventh, and perhaps final, time the painting has been moved.

It's no longer considered a money-making attraction. The painting will still get a lot of TLC as an artifact -- and a very large curiosity.

http://www.cnn.com/2017/02/08/us/atlanta-cyclorama-big-painting-move-trnd/index.html

Disclosure by Drip, Drip, Drip

Is it possible that the American people -- and the world -- are finally about to learn how George W. Bush decided https://www.youtube.com/watch?v=Ox7DicTda0I that waterboarding and other "enhanced interrogation techniques" were "legal"?

Well, we probably shouldn't get carried away by the notion of some epiphany that turned American history's most secretive administration into some kind of paragon of transparency.



It's probably more likely that government officials are finally being forced to respond to the seven-year drip-drip-drip of the Chinese water torture practiced by legal scholars and human rights advocates.

As Richard Nixon learned the hard way in 1974, stonewalling goes just so far.



Still, it's worth pondering the remarkable events of the past few weeks.

Two weeks ago, CIA director Gen. Michael V. Hayden publicly admitted for the first time that the agency used waterboarding in 2002 and 2003 in the interrogation of three Al Qaeda suspects. The technique, which has been used since the Spanish Inquisition and has been found illegal in the past by American courts, involves pouring water into the nose and mouth to create a feeling of drowning.

Then, just last week, the U.S. and British governments revealed that two American "extraordinary rendition" flights carrying terrorism suspects refueled on U.K. territory on the island of Diego Garcia in the Ind ian Ocean in 2002. Both governments had repeatedly denied that the CIA had ever used British airspace or territory for the secret flights.

Foreign Minister David Miliband said he was "very sorry indeed" to have to correct previous denials by former Prime Minister Tony Blair and other top British officials. Prime Minister Gordon Brown expressed "disappointment" that the United States notified the British government of the flights just last week and called it a "very serious issue."

CIA Director Hayden issued a statement saying that information supplied to Britain "in good faith" had "turned out to be wrong."

Human rights advocates have long suspected that the Indian Ocean atoll was being used as a base for detaining or transporting suspected terrorists to countries whose security services are known to practice torture.

Now we learn that the Justice Department's internal ethics office is investigating the department's legal approval for waterboarding of al-Qaeda suspects by the CIA.

That disclosure came from H. Marshall Jarrett, the head of the department's Office of Professional Responsibility. It was the first official acknowledgment that the Justice Department was conducting an internal review of the so-called "torture memos" the department prepared since 2002, authorizing waterboarding and other harsh interrogation methods.

This is no small deal. Jarrett's report could become the first public accounting for legal advice that endorsed methods that human rights groups and constitutional authorities unreservedly define as torture.

Jarrett's office has the power to refer matters for criminal prosecution or to reprimand or pursue disbarment of current or former Justice Department lawyers. The lawyers who gave the torture-is-OK advice are the precise targets of Jarrett's review.

The Jarrett's bombshell came as prosecutors and FBI agents continued their criminal investigation into the CIA's 2005 destruction of videotapes of some of its interrogations. It also came just a week after President Bush threatened to veto a Congress-passed ban on such interrogations.

Jarett's disclosure came in response to a letter from two Democratic senators, Richard J. Durbin of Illinois and Sheldon Whitehouse of Rhode Island.

The Senators wrote, "Despite the virtually unanimous consensus of legal scholars and the overwhelming weight of legal precedent that waterboarding is illegal, certain Justice Department officials, operating behind a veil of secrecy, concluded that the use of waterboarding is lawful. We believe it is appropriate for you to investigate the conduct of these Justice Department officials."

Jarrett responded that he was looking into the basis for the legal advice contained in an August 2002 memo approving waterboarding. That memo -- drafted by Justice Department lawyer John Yoo and signed by Jay S. Bybee, then head of OLC -- concluded that interrogatio n methods were not torture unless they produced pain equivalent to that produced by organ failure or death. It was withdrawn in 2004.

Jarrett went still further. He said the investigation was also examining other legal memoranda prepared by OLC since 2002. Presumably, those would the opinions written in 2005 by Steven G. Bradbury, who is still the acting head of OLC. That memo reportedly gave legal approval for waterboarding and other tough methods. Congress has been trying for many months to see that memo.

News of Jarrett's investigation can only be seem as something of a vindication for him. In 2006, when he tried to look into the Justice Department's role in approving the National Security Agency's domestic surveillance program, President Bush denied security clearances for Jarrett's investigators, thus effectively shutting down the investigation.

But immediately after the Senate confirmed Michael Mukasey as attorney general last November, Bush relented and Jarrett's staff began their review. That probe is ongoing.

Meanwhile, the future of one of the authors of some of the "torture memos" now being investigated remains iffy. He is Steven Bradbury, who has been nominated by President Bush to be chief of the Office of https://www.landscapingnetwork.com/plants/ Legal Counsel (OLC). One of the DOJ's most influential offices, OLC is responsible for drafting the legal opinions of the Attorney General and for providing legal advice to the executive branch on all constitutional questions and reviewing pending legislation for constitutionality.

Senators Whitehouse and Durbin -- and a number of other lawmakers -- have called on Mr. Bush to withdraw the Bradbury nomination.

Senator Whitehouse, a former United https://www.youtube.com/watch?v=Ox7DicTda0I States attorney, said that the so-called "torture mem os", as well as classified opinions he had reviewed, failed to meet the Justice Department's standards for scholarship.

He said that in approving waterboarding, the opinions failed to recognize U.S. prosecution of cases against Japanese officers for waterboarding American prisoners during World War II, and the 1983 opinion of a federal appeals court upholding the conviction of a Texas sheriff for using "water torture" on jail inmates.

Bradbury's recent congressional testimony could not have provided much comfort to his critics. Appearing before a House committee, Bradbury maintained that the Bush administration allowed CIA interrogators to use tactics that were "quite distressing, uncomfortable, even frightening," but did not cause enough severe and lasting pain to meet the definition of torture.

In surprisingly direct testimony, Bradbury described in chilling detail how waterboarding was used to compel disclosures by prisoners suspected of being member of al-Qaeda.

One of those subjected to this tactic, he said, was Khalid Sheik Mohammed, the alleged masterminded of the Sept. 11, 2001, attacks. He is one of six detainees at the U.S. Naval Base at Guantanamo Bay, Cuba, who is scheduled to be tried by Military Commission. That raises the question of whether evidence obtained through torture will be admitted as evidence in his trial.

But Bradbury denied that the CIA's waterboarding techniques were similar to the "water torture" used during the Spanish Inquisition and by the security services of dictatorial governments during the 20th century. He said that no water entered the lungs of the three "high value" prisoners who were subjected to the practice in 2002 and 2003.

Bradbury joined his boss, Attorney General Michael B. Mukasey, in declining to say whether waterboarding is torture, or whether it is illegal under laws passed in 2005 and 2006 to regulate abusive treatment of detainees.

He did acknowle dge that the Military Commissions Act and other newer laws "would make it much more difficult to conclude that the practice was lawful today," but added that this was not the case in 2002, when the CIA's interrogation program began.

These developments would not be nearly as remarkable absent the steel curtain of secrecy behind which the Bush Administration has hidden for the past seven years. Perhaps we're about to get our first peeks behind that curtain - albeit reluctantly and glacially.

In the aftermath of Nixon's resignation, students of politics posited the notion that the cover-up is always worse than the crime. The modus operandi of Bush Administration has managed to debunk that old saw.

In the world of George W. Bush, the crime and the cover-up are equally disgraceful.

For more from this writer, go to: The World According to Bill Fisher.

htt p://www.huffingtonpost.com/william-fisher/disclosure-by-drip-drip-d_b_88372.html

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