Now on View: Revolutionary Views: The American War for Independence in Print

A defining event of the 1700s, the American Revolutionary War was illustrated during the war through the United States’ centennial in 1876, and beyond. Over time, American, British, and European artists have offered their interpretations of important events related to the war to the print-consuming public. The prints exhibited in the Scottish Rite Masonic Museum & Library’s exhibition Revolutionary Views: The American War for Independence in Print—many based on paintings—depict historical occasions viewed through the lens of their creators’ national perspective or political agenda.

The Memorable Engagement of Capt. Pearson of the Serapis, 1780. Daniel Lepinière (ca. 1740–1785) and James Fittler (1758–1835), London, England. Special Acquisitions Fund, 78.74.12.

Works published in London during and at the end of the war reflect the English perception of significant conflicts. Published in 1780, the year after the clash occurred, The Memorable Engagement of Capt. Pearson of the Serapis illustrates the Battle of Flamborough Head in vivid detail. The engagement was an American naval victory that made John Paul Jones a household name. The inscription on this print expresses the English perspective, which put a positive spin on the conflict, praising Captain Richard Pearson, “whose bravery & conduct saved the Baltic Fleet under his Convoy though obliged to submit to a much superior force . . .”

Prints created in Philadelphia and New York after the war present American points of view, exhibiting pride in the accomplishments of colonial militia members and the Continental Army, and celebrating significant figures such as George Washington. These later prints often reflect national concerns at the time of their publication. During the tumult of the American Civil War, for example, printmakers created works to remind Americans of the country’s founding and its early ideals to inspire support for unity.

The Spirit of – 76, 1862. Painted by Tompkins Harrison Matteson (1812-1884). Engraved by Henry Samuel Sadd (1811-1893). Philadelphia, Pennsylvania. Special Acquisitions Fund, 77.75.7.

The Spirit of 76, printed in the second year of the American Civil War, aimed to inspire Union supporters to follow the lead of colonists who fought in the Revolutionary War. The man in the center of the room is preparing to join the fight. A woman holding a copy of the Declaration of Independence in one corner of the image reminded viewers of the ideals for which the Union was fighting.

Pivotal moments in American history, like George Washington’s crossing of the Delaware River prior to the Battle of Trenton, have been interpreted by artists in varying ways. Prints depicting this event offer alternative arrangements of the actors from the early 1800s, reflecting the motivations of the artists in their time. The museum’s collections include five different interpretations of this historic event, all titled Washington Crossing the Delaware.

Washington Crossing the Delaware, ca. 1876. Lithographed by John Cameron (ca. 1828-after 1896). New York, New York. Loaned by the Grand Lodge of Masons in Massachusetts, GL2004.3404.

Nathaniel Currier and James Merritt Ives, prolific publishers of historical scenes, offered their own illustration of the event in 1876, the centennial anniversary of both the Battle of Trenton and the signing of the Declaration of Independence. Washington is shown on a rise above the river, consulting with his staff as they prepare for the crossing. As the nation’s 100^th birthday approached, dramatic illustrations of Washington and other heroes of the Revolutionary War enjoyed widespread popularity.

As we look forward to the 250^th anniversaries of the Battle of Lexington in 2025 and the signing of the Declaration of Independence in 2026, American history will be illuminated through the lens of the 21^st century. Viewing these historical prints together, along with the other works in this exhibition, shows how past artists have interpreted—and celebrated—the past in different ways to inform and persuade their audiences.

The Memorable Engagement

The Memorable Engagement of Capt. Pearson of the Serapis, December 12, 1780. Daniel Lepinière & James Fittler; John Boydell; Richard Paton, London, England. Special Acquisitions Fund, 78.74.12.

In this 1780 print in the collection of the Scottish Rite Masonic Museum & Library, engravers Daniel Lepinière (ca. 1740–1785) and James Fittler (1758–1835) portrayed an American victory during the Revolutionary War, based on a work by painter Richard Paton (1717–1791). The print presents a moonlit ocean scene off the coast of England, with multiple warships entangled in fiery conflict. Published just over a year after the depicted conflict occurred, this engraving illustrates the Battle of Flamborough Head in vivid detail. The inscription on the bottom edge of the print conveys the English perspective on this historic event.

The two ships at the left of the engraving are the American Bonhomme Richard, commanded by Captain John Paul Jones (1747-1792), and the English Serapis, commanded by Captain Richard Pearson (1731–1806). Jones’ 1776 and 1777 privateering successes along the British coast combined with the 1778 Franco-American Alliance led to Jones’ appointment as captain of the French vessel Duc de Duras in 1779. Jones renamed the ship the Bonhomme Richard to show his respect for Benjamin Franklin, whose Maxims of Poor Richard was wildly popular in Paris at the time.

In August 1779, Jones and the crew of the Bonhomme Richard left Lorient, France, and headed towards England intending to harass English warships and to capture them as prizes if possible. As his squadron, consisting of the flagship and six other vessels, neared the English coast, local citizens prepared for the arrival of the man they considered a swashbuckling pirate. The Northumberland militia was called out and the whole coastline was alarmed.

By fall, Jones’ squadron was off the coast of Yorkshire. On September 23, 1779, battle was engaged between Jones’ group and a forty-one-ship squadron of English warships known as the Baltic fleet, led by the Serapis. Off Flamborough Head, a peninsula near Scarborough, the vastly-outnumbered Americans struck first. As it was a clear night, thousands of onlookers observed the battle from the shore. The majority of the Baltic fleet intentionally steered clear of the conflict, but the Countess of Scarborough was taken as a prize by the American ship Pallas. Eventually, the most bitter and drawn-out fight was between the Bonhomme Richard and the Serapis, the two flagships.

Jones maneuvered his vessel alongside the Serapis and lashed the ships together, rendering their larger guns useless and forcing close combat using smaller arms. When Captain Pearson asked Captain Jones to surrender, the latter uttered his famous retort, “I have not yet begun to fight.” Despite his bravado, Jones later stated that “the scene was dreadful beyond the range of language.”

After more than three hours of vicious fighting, Captain Pearson eventually yielded, striking his flag and sending his sword to Captain Jones. With the Bonhomme Richard sinking beneath them, Jones and his crew boarded Serapis and took her as a prize. On December 27, Jones gave the Serapis to the French Navy as a prize ship. The naval victory was a boost to American morale and a victory for the Franco-American Alliance.

For the British public, the loss was significant. Jones and his squadron had again brought the war to their doorstep. The dedication at the bottom of the print, from painter Richard Paton, may have been an attempt to downplay the American victory: “To Sir Richard Pearson, whose bravery & conduct saved the Baltic Fleet under his Convoy though obliged to submit to a much superior force . . .” While the chaos of combat helped the other ships in the Baltic fleet escape, the loss of many sailors and two large warships was hardly anything to celebrate.

Despite the defeat, Pearson was hailed as a hero in England and received a knighthood. The Scottish-born Jones continued to be reviled in England and celebrated in the American colonies.

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Further Reading:

• John Paul Jones Flintlock Pistol
• Battle of Flamborough Head – Yorkshire Coast 1779
• Two Forgotten Accounts of the Battle of Flamborough Head

The Lexington Alarm letter - on view and online in 2024!

Each year during the celebration of Patriots’ Day, a Massachusetts state holiday, the Scottish Rite Masonic Museum & Library proudly displays an original copy of the Lexington Alarm letter—one of several letters created by the colonists to inform other colonies about the Battle of Lexington and the outbreak of war with England. It gives contemporary viewers a close-up look at the beginning of the American Revolution.

The original alarm letter was written by Joseph Palmer just hours after the Battle of Lexington, which took place around daybreak on April 19, 1775. Palmer, a member of the Committee of Safety in Watertown, Massachusetts, near Lexington, had his letter copied by recipients along the Committee of Safety's network. Using this system, the message was distributed far and wide. While the original alarm letter written by Palmer is thought to be lost, the Museum & Library has in its collection this version of his famous description of what happened, which was copied the day after the Battle of Lexington by Daniel Tyler, Jr., of Connecticut.

The letter will be on view at the Museum from April 9 - 27, 2024. (Check the museum's website for specific days and times that we're open.)

In addition to seeing the letter in person, you can also view our online exhibition, “'To all the Friends of American Liberty': The 1775 Lexington Alarm Letter,” which is available on the Van Gorden-Williams Library & Archives Digital Collections website. This exhibition takes a close look at the Lexington Alarm letter that is in the Museum & Library's collection.

Caption:
Lexington Alarm Letter, [April 20, 1775], Daniel Tyler, Jr. (about 1750–1832), copyist, Brooklyn, Connecticut, Museum purchase, A1995/011/1. 

Dr. John Warren's Medical Trunk

Trunk, 1770-1815. Loaned by the Grand Lodge of Masons in Massachusetts, GL2004.2055. Photograph by David Bohl.

This leather and wood trunk decorated with brass studs is thought to have belonged to Dr. John Warren (1753-1815) of Massachusetts. Its side handles and manageable size (11-7/8” x 13-1/2” x 24-1/2") made it both portable and practical. Through the service of its dynamic owner, this trunk may have seen military action during the American Revolutionary War.

Born in Roxbury, Massachusetts, Dr. John Warren was the younger brother of Dr. Joseph Warren, whose death at the Battle of Bunker Hill made him a martyr to the Patriot cause. John Warren studied medicine at Harvard, graduating in 1771. He became a surgeon with a militia regiment commanded by Colonel Timothy Pickering in 1772 and in that capacity, responded to the Battles of Lexington and Concord in April 1775.

In 1775, Warren was practicing medicine in Salem, Massachusetts. He traveled with his regiment to the various battles in which he was involved. Like many Massachusetts militia members who were called out for the Lexington Alarm, Warren remained in the Boston area into the month of May. Warren likely brought his own medical supplies with him when he traveled. He owned two amputation kits. Based on the dimensions of these amputation kits, both items could have been carried inside this trunk.

By June 1775, Warren had returned home to Salem and received news of the start of the Battle of Bunker Hill. He hurried down to Cambridge in the early hours of the following morning to treat wounded soldiers. At the same time, Warren fretted about his brother Joseph who had fought during the battle. At one point, Warren left the medical area in Cambridge and went to Bunker Hill to find his brother, asking any and all soldiers he encountered about Joseph’s whereabouts. One of these was a British sentry, and Warren received a bayonet wound to his side in response to his inquiry. Unfortunately, Joseph “fell on the field,” as John later wrote in his diary.

His fervor for the Patriot cause and his brother’s death motivated Warren. According to Sibley’s Harvard Graduates, “He enjoyed helping repulse the raid at Lechmere Point, and, case in hand [emphasis mine], took his post on Cobble Hill at night hoping for another Bunker Hill.” The “case” mentioned in this quote was likely a medical case, possibly this trunk. Cobble Hill was a colonist-fortified hill in Charlestown with an excellent view of Boston Harbor. Warren may have carried his medical supplies in this trunk during the early days of the Revolutionary War when the action was focused in Massachusetts.

It's also possible that Warren brought this trunk with him when the action moved away from Massachusetts. The nascent Continental Army struggled to provide uniforms, firearms, and other supplies to its soldiers. Warren’s medical tools and supplies would have been highly valued and were likely brought with him when he left for New York in May 1776, after the British evacuated from Boston.

Warren later served as Surgeon General of the army hospitals in Long Island, New York and Bethlehem, New Jersey in 1776. In the latter location, he – and possibly this trunk – saw action at the Battles of Trenton and Princeton. Warren also participated in the Rhode Island campaign in 1778, perhaps due to his 1777 marriage to Abigail Collins, the daughter of Rhode Island Governor John Collins.

Dr. John Warren was a knowledgeable and dedicated surgeon, who put his medical skills to use in service of the American cause. This trunk, both substantial enough to hold needed medical supplies and portable enough to carry into battle, is an apt symbol of his service.

John P. French's Masonic Powder Horn

Masonic Powder Horn, 1750-1830. John P. French. Special Acquisitions Fund, 76.10

The Scottish Rite Masonic Museum & Library holds nearly two dozen powder horns in its collection. Some are from the era of the American Revolutionary War and bear carvings that reflect that use; some feature carvings of Masonic symbols. This unusual double powder horn is particularly intriguing because it exhibits both types of carvings.

Powder horns, made from animal horn (often cow or oxen), were used by soldiers in the field to keep gunpowder dry and secure. The holes at the tips of the horns were used to pour powder into a paper cartridge or directly into the barrel of a musket. Many were carved with designs that were meaningful specifically to the owner. The words “John P. French His Horn” are carved into the surface, identifying this horn’s owner. On this fascinating object, French showcased his Masonic affiliation, his interest in slogans, and possibly his personal hobbies.

Masonic Powder Horn, 1750-1830. John P. French. Special Acquisitions Fund, 76.10

One of the slogans that appears on the horn is “Don’t Tread On Me” above a snake. This phrase was first used in South Carolina in 1775 by Christopher Gadsden, then-Lieutenant Governor of the state. It was inspired by Benjamin Franklin’s 1754 “Join or Die” political cartoon showing the colonies as pieces of a snake, indicating that union between the British colonies was necessary for survival. The slogan became well-known after it was used on naval flags during the Revolutionary War. Another phrase that adorns French’s horn is “Freedom and Victory.” While there is no one known usage of this slogan, the ideals align with the goals of the American Revolutionary War.

Masonic Powder Horn, 1750-1830. John P. French. Special Acquisitions Fund, 76.10

The majority of the carvings on this double powder horn are connected to Freemasonry, perhaps a sign that the fraternity and its teachings held special meaning to French. The slogan “Cemented with Love” appears, which refers to the tight bonds that Masons encourage and enjoy with their brethren. In this apron in the museum’s collection, another Mason has chosen the same phrase to decorate his regalia.

Along with this Masonic slogan, French applied around two dozen symbols from the teachings of Freemasonry to his horn. Some symbols are common to all forms of Freemasonry, such as a trowel, a gavel, a coffin, a beehive, and two pillars called Boaz and Jachin. One is a stone archway often represented in Royal Arch Freemasonry, the first four degrees of the York Rite. This arch is topped by a figure identified as “Hiram.” Hiram Abiff is a significant character in Freemasonry’s third degree.

Masonic Powder Horn, 1750-1830. John P. French. Special Acquisitions Fund, 76.10

In addition to symbols representing his political and Masonic interests, French also carved what appears to be a hunting scene, featuring a dog, a bird, a deer, a mountain lion, and a man holding a rifle. Perhaps these symbols reflect a pre-war activity.

Unfortunately, even with the helpful addition of a middle initial, the name “John French” was so common at the time of the Revolutionary War that we cannot establish the owner’s identity from military records. French appears to have been a member of the fraternity, but we cannot ascertain to which Masonic lodge he belonged. While we do not know where John P. French lived or very much about him, the symbols he chose to carve on his powder horn give us a sense of what he valued.

The Lexington Alarm letter - on view and online in 2023!

Each year during the celebration of Patriots’ Day, a Massachusetts state holiday, the Scottish Rite Masonic Museum & Library proudly displays an original copy of the Lexington Alarm letter—one of several letters created by the colonists to inform other colonies about the Battle of Lexington and the outbreak of war with England. It gives contemporary viewers a close-up look at the beginning of the American Revolution.

The original alarm letter was written by Joseph Palmer just hours after the Battle of Lexington, which took place around daybreak on April 19, 1775. Palmer, a member of the Committee of Safety in Watertown, Massachusetts, near Lexington, had his letter copied by recipients along the Committee of Safety's network. Using this system, the message was distributed far and wide. While the original alarm letter written by Palmer is thought to be lost, the Museum & Library has in its collection this version of his famous description of what happened, which was copied the day after the Battle of Lexington by Daniel Tyler, Jr., of Connecticut.

The letter will be on view at the Museum from April 10 - 21, 2023. (Check the museum's website for specific days and times that we're open.)

In addition to seeing the letter in person, you can also view our online exhibition, “'To all the Friends of American Liberty': The 1775 Lexington Alarm Letter,” which is available on the Van Gorden-Williams Library & Archives Digital Collections website. This exhibition takes a close look at the Lexington Alarm letter that is in the Museum & Library's collection.

Caption:
Lexington Alarm Letter, [April 20, 1775], Daniel Tyler, Jr. (about 1750–1832), copyist, Brooklyn, Connecticut, Museum purchase, A1995/011/1. 

Heavy Impact: British Cannonball Fired in Lexington on April 19, 1775

Cannonball (fired in retreat from Lexington), ca. 1775. Gift of Harvey B. Leggee, 75.34a.

Its surface is pitted and its usefulness long gone, but this six-pound iron ball tells an intriguing story of the first military battle of the Revolutionary War and its effect on the town of Lexington, Massachusetts.

According to an accompanying plaque, this cannonball was “fired in 1775 by ‘British regulars’ under command of Captain Earl Perry [sic] during their retreat from Lexington Green.” On April 19th of that year, the first battle of the Revolutionary War was fought in Lexington, now the home of the Scottish Rite Masonic Museum & Library.

Tensions had been high between Massachusetts citizens and the British government–represented by its royal troops–since the soldiers had landed in Boston in 1769. This friction had already led to such events as the 1769 Lexington Spinning Protest, the 1770 Boston Massacre, and the 1773 Lexington Tea Burning and Boston Tea Party.

These tensions and other events led to an armed conflict between Lexington’s Training Band and British troops on April 19, 1775. A contingent of British soldiers headquartered in Boston were deployed on an overnight mission to retrieve stolen cannon and ammunition hidden in Concord. After a short engagement at dawn in which eight Lexington men were killed and ten wounded, the British troops continued to Concord where they found themselves in a pitched battle at the Old North Bridge with militia members from Concord and surrounding towns. Eventually, the order to retreat was given and the British soldiers began a long and harrowing march back to Boston.

Local militias reengaged British troops many times along the route back–now called “Battle Road"–but the fighting took a different tone as the troops marched back through Lexington. By this time, relief troops from Boston had positioned two six-pound cannon at a rise east of the town center to provide covering fire for the soldiers on foot.

This bombardment led to cannonballs smashing through both the Lexington meetinghouse on the Green and one of the houses west of the Green on Harrington Road. According to SRMML’s records, the museum's cannonball was excavated in 1956–181 years after the battle–by local Mason Harold L. Worth (1909-1993) from the “south side of Merriam Hill.” This ball was found within the range of the British cannon that day. The location of the find supports the message on the cannonball’s plaque–that it was fired by British soldiers.

Cannonball (fired in retreat from Lexington), ca. 1775. Gift of Harvey B. Leggee, 75.34a.

To confirm this information, SRMML staff measured the cannonball. The British were using six-pound field pieces that day and a six-pound cannonball is usually around 3.58 inches in diameter. As you can see on the right, this cannonball is 3.52 inches, which is within the expected range for historical examples. Using historical accounts, maps, and munitions specifications, we feel confident that this cannonball was fired during the conflict between Massachusetts citizens and British soldiers.

The cannon and troops are long gone, but the town of Lexington is still deeply tied to the events of April 19, 1775. Its landscape and people were profoundly marked by the attack. Evidence of that impact remains in the military detritus left behind. It is also on display in the reenactments and commemorations of the battle held annually in Lexington. See the links below for more Revolutionary War items in the museum’s collection!

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More Revolutionary War items at SRMML:

• “In Provincial Congress, Concord, April 15, 1775”
• "To all the Friends of American Liberty": The 1775 Lexington Alarm Letter
• Muster Roll, 1775 September 12
• Report from Fort No. 2 (Dorchester Heights), 1776 November 19
• Officer's commission issued to Abel Chapin, 1781 July 1
• Discharge certificate, 1783 June 8

The Lexington Alarm letter - on view and online in 2022!

Each year during the celebration of Patriots’ Day, a Massachusetts state holiday, the Scottish Rite Masonic Museum & Library proudly displays an original copy of the Lexington Alarm letter—one of several letters created by the colonists to inform other colonies about the Battle of Lexington and the outbreak of war with England. It gives contemporary viewers a close-up look at the beginning of the American Revolution.

The original alarm letter was written by Joseph Palmer just hours after the Battle of Lexington, which took place around daybreak on April 19, 1775. Palmer, a member of the Committee of Safety in Watertown, Massachusetts, near Lexington, had his letter copied by recipients along the Committee of Safety's network. Using this system, the message was distributed far and wide. While the original alarm letter written by Palmer is thought to be lost, the Museum & Library has in its collection this version of his famous description of what happened, which was copied the day after the Battle of Lexington by Daniel Tyler, Jr., of Connecticut.

In addition to seeing the letter in person, you can also view our online exhibition, “'To all the Friends of American Liberty': The 1775 Lexington Alarm Letter,” which is now available on the Van Gorden-Williams Library & Archives Digital Collections website. This exhibition takes a close look at the Lexington Alarm letter that is in the Museum & Library's collection.

Caption:
Lexington Alarm Letter, [April 20, 1775], Daniel Tyler, Jr. (about 1750–1832), copyist, Brooklyn, Connecticut, Museum purchase, A1995/011/1.

The Green Dragon Tavern Sign’s Winding Legacy

Green Dragon Tavern Sign, 1875-1940. Loaned by the Grand Lodge of Masons in Massachusetts, GL2004.7293a. Photograph by David Bohl.

 

As we look forward to Patriots’ Day here at the Scottish Rite Masonic Museum & Library, our minds turn to objects in our collection related to the American Revolution. Among these is the dramatic sculpture pictured here. This sculpture is a reproduction of a tavern sign that once hung over Boston’s fabled (and no longer surviving) Green Dragon Tavern and connects viewers to the remembrance of important events relating to our nation’s origins.

This sculptural dragon’s story is as winding as its tail. The original Green Dragon Tavern, in operation as early as 1712 and located on Union Street in Boston’s North End, attracted customers with a metal (possibly copper) sign in the shape of a dragon over its door. The Lodge of St. Andrew met at the tavern and purchased the building in 1764. The tavern continued to operate in the basement while the Lodge used the upper floors for its meetings. This structure burned down in 1832, and the original dragon sign was lost.

The Lodge rebuilt the building after the fire. For its centennial in 1856, a new sign in the shape of a dragon was commissioned. It was modeled after its predecessor as closely as could be determined but was made of sandstone instead of metal. This 1855 dragon sign was also lost sometime after it was created.

The sign shown here, sculpted in bronze, has more mysterious origins. It was discovered in 1947 by clothing store proprietor Samuel Lebow, who had purchased the Lodge of St. Andrew’s building to use as his shop. Lebow, himself a Freemason, gave the dragon to the Grand Lodge of Masons in Massachusetts the same year he found it.

The original Green Dragon Tavern—referred to as the “Headquarters of the Revolution” by Daniel Webster and a “nest of sedition” by Royal Governor Thomas Hutchinson—was the location at which the Sons of Liberty met to plan out the Boston Tea Party. An 1898 artist’s rendering of that storied night, with the tavern and its sign in the shape of a dragon in the background, can be seen below. Lodge of St. Andrew members Paul Revere (1734-1818), John Hancock (1736/7-1793), and Joseph Warren (1741-1775) were also members of the Sons of Liberty and deeply involved in the group’s activities.

Green Dragon Tavern, Boston, Massachusetts, 1898. Lee Woodward Zeigler (1868-1952); The Masonic History Company, New York, NY. Loaned by the Grand Lodge of Masons in Massachusetts, GL2004.0763.

 

Today, this dragon sign, part of the collection of the Grand Lodge of Masons in Massachusetts, is cared for by the Scottish Rite Masonic Museum & Library. If you would like to see it in person, it is currently on view in our exhibition, “The Masonic Hall of Fame: Extraordinary Freemasons in American History.”

 

References:

Newell, Aimee E., et al. Curiosities of the Craft: Treasures from the Grand Lodge of Massachusetts Collection. Boston: Grand Lodge of Masons in Massachusetts and Lexington, Massachusetts: Scottish Rite Masonic Museum & Library, 2013, pp. 54-55.

Gimber, Karl and Mary Jo. “Hook a Tavern Sign.” Early American Life, Feb. 2012, pp. 72-73.

The Lodge of Saint Andrew, and the Massachusetts Grand Lodge. Boston: Lodge of St. Andrew, 1870, pp. 184-185.

Celebrate Patriots' Day With Our New Online Exhibition

Patriots' Day, a holiday well-known in Massachusetts and celebrated in other U.S. states as well, commemorates the Battles of Lexington and Concord on April 19, 1775. This year's holiday marks the 246th anniversary of the events that signaled the beginning of the American Revolution.

The Scottish Rite Masonic Museum & Library invites you to explore our new online exhibition, “'To all the Friends of American Liberty': The 1775 Lexington Alarm Letter” now available on the Van Gorden-Williams Library & Archives Digital Collections website. This exhibition takes a close look at an original copy of the Lexington Alarm letter that is in the Museum & Library's collection. Written on April 20, 1775, the letter's urgent news that war had broken out brings today's viewers to the beginning of the American Revolution.

The Museum's copy of the letter, written in the late morning of April 20, 1775, is one of several created by colonists to inform distant communities and colonies about the Battle of Lexington and the outbreak of war with England.

Interested in more online exhibitions? You can check out all of the Library & Archives online exhibitions here. Also be sure to check out the seven online exhibitions that are available at the Museum's online exhibitions website.