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Navy Pride on Pennsylvania Avenue: The United States Navy Memorial

October 4, 2025Posted in UncategorizedTagged Navy, Navy Log, Navy Memorial, Navy Memorial DC, Penn Quarter, Pennsylvania Ave, Pennsylvania Avenue, The Lone Sailor, travel, travel-tips, US Navy, US Navy Memorial, usa, Washington, Washington DC, Washington DC monuments, Washington DC Tourism, Washington DC travelLeave a comment

In a large open plaza stands a statue of a solitary figure.

He is a sailor in a dress unform. He stands straight and tall wearing a service “dixie cup” sailor hat. A buttoned up peacoat with a flipped up collar protects him from the chill of the ocean air. His hands are plunged deep into his pockets. His packed sea bag stands by his side. The determined look on his face denotes his readiness to deploy anywhere and perform his duty.

The statue is known as The Lone Sailor and serves as the centerpiece of the US Navy Memorial.

The Lone Sailor Statue

For centuries, considerable discussion was had regarding a suitable monument paying tribute to the United States Navy. Pierre L’Enfant had included a Memorial Column for the Navy in his original plans for Washington, DC. Other memorials were built to honor the Navy during specific conflicts, but nothing existed to honor all American sailors.

This all began to change in the spring of 1977 as Admiral Arleigh Burke urged Navy senior leaders and veterans to get serious by proclaiming: “We have talked long enough about a Navy Memorial, and it’s time we did something about it.”

When Admiral Burke–a distinguished World War II war hero and three-time Chief of Naval Operations–spoke, Navy personnel listened. The Navy Memorial Foundation was quickly organized and Rear Admiral William Thompson was named its first president. Admiral Thompson proved an excellent choice for the job and quickly set to work.

Rear Admiral William Thompson (ret.), on left, receiving a donation for the US Navy Memorial. Note the artist’s rendition of the Memorial.

-Department of Defense Photo

He first helped shape the enabling legislation Congress would pass in 1980. He then led the foundation through selecting the memorial’s designers, determining the memorial’s location, raising money and overseeing construction.

Admiral Thompson also helped select the sculptor Stanley Bleifeld to design and sculpt The Lone Sailor Statue. In recognition of Admiral Thompson’s significant contributions to building the memorial, Bleifield included Thompson’s initials on the Lone Sailor’s sea bag.

The Navy Memorial Plaza looking south toward the National Archives

The whole process from the founding of the memorial to its completion stretched to almost a decade. The Navy Memorial was formally dedicated on October 13, 1987 by President Ronald Reagan. He devoted it to all who have served, are serving or will serve in the United States Navy, Marine Corps, Coast Guard and Merchant Marine.

The memorial is set within a broad circular plaza to the northwest of the intersection between 7th Street and Pennsylvania Avenue. Early designs for the memorial favored a more traditional approach, but they were discarded in favor of a memorial with a more open space resembling a seascape.

The floor or base of the plaza depicts a large world map. With a diameter of 100 feet, it is said to be the largest map in the world.

A set of fountains at the US Navy Memorial

Fountains skirt the southern perimeter of the map. The water flowing through the fountains comes not from Washington DC’s water supply but is collected from the world’s oceans and the Great Lakes.

A semicircular wall inside the fountains contains a series of 26 bas-relief figures depicting scenes of Navy history and Navy life as well as the contributions of maritime partners.

Arrayed around the memorial are quotes about the Navy from sailors at all levels. Six masts fly the flags of the United States, the Navy, Marine Corps, Coast Guard, Merchant Marine and the POW/MIA flag.

Bas Relief sculpture of Navy submarines in World War II

Sweeping arches incorporated into the design of two mixed-use commerical buildings suggest a northern perimiter to the memorial, balancing the fountains and sculpture walls on the southern side. The neoclassical design of these buildings seemingly provides a sense of the shore or anchorage to the airy, open plaza.

Amidst all this stands The Lone Sailor. The statue has been so enthusiastically received by the Navy community, there are 18 more Lone Sailor statues across the United States (and one at Utah Beach in Normandy). In each location, the statue reminds the community of the dedication and professionalism of the American sailor.

Bas Relief Sculpture of Captain John Paul Jones

Early in the design phase, the Navy identified a desire to have a “living memorial,” a place where people would gather and return to time and again. The open space makes the memorial a popular venue for summer concerts, reenlistments, promotion ceremonies, wreath layings and reunions.

In keeping with the desire for a living memorial, the Navy Memorial Foundation located a visitor center in one of the adjoining buildings. Part research facility, part musuem and part community center, the visitor center brings the Navy experience alive for the landlubber while instilling pride in all Navy sailors. There are exhibits on the missions of the post 9/11 Navy, multiple Navy leaders, and the important role played by chief petty officers.

The visitor center also houses the Arleigh Burke Theater. In addition to running several short movies on Navy life throughout the day, as well as periodic feature films, the theater hosts guest speaker programs. Visitors can find a variety of mementos from all the US military services at the Ship’s Store gift shop.

A video screen displays the Navy Log throughout the day.

There is also a feature known as the Navy Log, an online archive with details of the men and women who have served in all the sea services. There are currently over 750,000 entries. Active members, veterans or their loved ones are invited to add to this number and enter a service member’s information as an ongong tribute to their time in uniform.

As the US Navy observes its 250th Anniversary, the US Navy Memorial is a place for everyone to discover and honor America’s rich naval heritage. Whether you are active, retired, reserve or the relative or friend of someone who has served, the Navy Memorial is an important and worthwhile destination for any visit to Washington, DC.

***

I can imagine no more rewarding a career. And any man who may be asked in this century what he did to make his life worthwhile, I think can respond with a good deal of pride and satisfaction: ‘I served in the United States Navy.’
President John F. Kennedy

Route Recon

The US Navy Memorial is located at 701 Pennsylvania Ave, NW Washington, DC 20004.

The Memorial is accessible 24 hours a day.

The Visitor Center is open seven days a week from 9:30 AM to 5:00 PM.

The Navy Memorial hosts numerous events throughout the year. Some events may close the Visitor Center to the public. Be sure to check the Memorial’s website and find additional information about upconing events on the calendar.

The closest Metro Station is Archives-Navy Memorial-Penn Quarter on the Green and Yellow Lines.

Parking:
Validated parking is available at PMI Garage, 875 D Street, NW.
Parking can be validated for $13 inside the Ship’s Store, located in the Navy Memorial Visitor Center.

Revisiting the War Above the Trenches at the National Air and Space Musuem

September 4, 2025Posted in World War ITagged aircraft, Albatross D.VA, Arthur Raymond Brooks, Aviation, Birth of Military Aviation, history, military, military history, NASM, National Air and Space Musuem, Smithsonian Institute, Snoopy, Sopwith Camel, Sopwith F.1 Camel, SPAD XIII Fighter, travel, Washington DC, World War I aviation, World War II AviationLeave a comment

Lieutenant Arthur Raymond Brooks, US Army Air Service, knew he was in for a fight.

In the skies above Mars-la-Tour, France on September 14, 1918, Brooks and his squadron of six SPAD XIII fighters encountered four squadrons of German Fokker D.VIIs. As the fighter planes engaged each other, Brooks flew directly into German machine gun fire. He then quickly pulled away from his main formation with eight German fighters in pursuit.

Brooks next used all the maneuver capabilities the SPAD could provide to avoid being caught in a Fokker’s line of fire. He did barrel rolls. He flew in loops. He quickly climbed, then rapidly dove.

As the melee continued, Brooks fired on multiple Fokkers as they all weaved through the sky, downing two. German fire shattered his windshield and damaged one of his two machine guns. His SPAD was riddled with bullet holes. Yet he stayed in the fight. Brooks anecdotally shot down four German fighters that day (although he was only credited with two) and was awarded the Distinguished Service Cross for his actions.

A SPAD XIII Fighter at the National Air and Space Musuem

The SPAD XIII Fighter – Built by the Société Pour L’Aviation et ses Dérivés (SPAD) company, the SPAD XIII was preferred by French aces. The US Army Air Service also flew SPADs. Ray Brooks flew this SPAD in October 1918.

Ray Brooks is just one pilot whose aerial exploits are recounted in the Smithsonian Institute’s National Air and Space Museum’s (NASM’s) redesigned World War I aviation exhibit entitled World War I, the Birth of Military Aviation.

This is NASM’s third exhibit dedicated to the aircraft and aerial warfare of the First World War. The earlier exhibit, entitled Legend, Memory and the Great War in the Air, closed in 2018 as NASM prepared for a musuem-wide refurbishment. The new iteration explores the twin themes of how “the Great War” defined the on-going nature of military aviation as well as the remarkable experiences of World War I aviators.

There is much to see in the new gallery, but the meticulously restored World War I aircraft are the main attraction. Many of the World War I airplanes previously displayed are back. Greeting you from overhead as you enter the exhibit hall are the French Voisin Type 8 nighttime bomber and the German Albatross D.VA, a fighter that debuted in 1917. Other aircraft include the Fokker D.VII German fighter, Ray Brooks’ SPAD XIII fighter and the DH-4 Liberty Plane.

A German Albatross D.Va Fighter – These fighters were introducted in 1917.

A German Albatross D.Va Fighter at the National AIr and Space Musuem

The latest exhibit occupies a smaller footprint than its predecessor, but NASM’s designers have filled the space with a wide range of intriguing artifacts, vintage aircraft, airplane models and other displays.

The exhibit timeline from 1914 through the post-war period is arranged in a counterclockwise manner around a beautifully restored Sopwith F.1 Camel (the last surviving Camel fighter produced by the Sopwith Aviation Company). Once a pilot mastered the British-made aircraft’s finicky controls, the Camel was a highly versatile fighter. It is credited with downing more enemy aircraft than any other Allied plane.

Unlike other aircraft on display, the Sopwith Camel is placed on the floor making it the easiest to see and admire.

Adjoining the Camel is a large movie screen surrounded by a tent-like frame, suggesting an early aerial hanger. A four-part narrated film plays on a loop showing period aircraft in flight. The film provides a wonderful sense of motion to these beautiful but otherwise static aircraft.

A Sopwith F.1 Camel at the National Air and Space Musuem

The Sopwith F.1 Camel – This aircraft is the last surviving F.1 Camel built by the UK’s Sopwith Aviation Company.

Through the war years, three distinct types of military aircraft evolved–reconnaissance planes, fighters and bombers–reflecting the three original mission areas of military aviation.

To battlefield commanders, the airplanes’ most critical function was reconnaissance and observation. Trench warfare had ended the traditional scouting role of horse cavalry, but aircraft could find, fix and observe the enemy from above. Reconnaissance aircraft were built to direct artillery fire, track troop deployment, assess damage and relay messages over long distances. Planes were fitted with cameras and communications equipment, essentially becoming the commanders’ eyes and ears. Pilots and observers risked their lives to take photographs, which were now an important element of military planning.

A Kodak A-2 Oblique Aerial Camera. A 4″x5″ glass plate was changed out each time a picture was taken.

A Kodak A-2 Oblique Aerial Camera at the National Air and Space Musuem

Fighter aircraft were first developed to protect the reconnaissance planes. Ultimately, the fighters would engage each other to control the airspace over the trenches. Later in the war, Britain and Germany formed special fighter squadrons to directly attack troops on the ground.

Airships also conducted reconnaissance as well as bombing missions. However, their large size and slow speed made them susceptible to attack by fighters. They were generally replaced on bombing missions with specialized aircraft capable of flying further and higher while carrying heavier bomb loads.

Cross insignia from a German airship – This design was the official emblem of the German Air Service until mid-1918.

World War I gave rise to the military aviator as a distinct specialty. Some aviators, especially pursuit (later called fighter) pilots, took on a mythic status in their home countries. Flying high above the mud and blood of the trenches, these pilots were heirs to the chivalrous legacy of knights in armor. Pilots were written about in newspapers, appeared on magazine covers and made public appearances.

Prominent pilots included in the exhibit include Eddie Rickenbacker (America’s most decorated WWI ace), Manfred von Richtofen (The Red Barron), Eugene Bullard (African-American pilot flying for the French), Raol Lufbrey (a French-American ace), and Snoopy. (OK, Snoopy was not a real pilot, but he does have his own display, which is, of course, by the Sopwith Camel).

Among all the aircraft and artifacts, there are many interactive features as well. You can use a light table to analyze period photo imagery from a reconnaissance aircraft, learn how a synchronizer allowed machine gun bullets to miss propeller blades, and take the controls of a Sopwith Camel to experience the sounds of this highly maneuverable fighter. An immersive exhibit on trench warfare at first seems rather two dimensional. However, a look through trench periscopes provides some basic context on the infantryman’s view of aviation.

Snoopy first imagined himself flying his doghouse in 1965. Through the comic pages, as well as books, games, cartoons, and toys, Snoopy has been a consistent reminder of World War I aviation.

A collecton of artifacts celebrating Snoopy, the World War I ace.

At the beginning of the war in the Summer of 1914, the airplane was still a novel invention, a little more than a decade old. Very few aircraft were designed for any military purposes. As the war progressed, rudimentary flying machines quickly became faster, more maneuverable and better armed.

Airplanes were also needed on a large scale. Over 215,000 aircraft were built between 1914 to 1918. A myriad of new products were developed or adapted for use in aviation such as specialized cameras, radios, and aerial bombs. Many items first developed in World War I are still used in modern aviation, like the artificial horizon instrument, flight suits, and oxygen masks to name just a few. This sudden and sustained demand for combat aircraft and accessories gave rise to a new industry filled with highly skilled workers, an industry we rely on today.

A collection of World War I aircraft propellers

American, British and French propellers

Although World War I ended over a century ago, its impact is still very much felt today. World War I, the Birth of Military Aviation provides valuable insight into an important but not altogether well understood period in the history of aviation. The gallery’s opening is also an important and welcome step toward the completion of NASM’s comprehensive, multi-year renovation.

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Route Recon

The Smithsonian Institute’s National Air and Space Museum (NASM) is located on the National Mall bordered by Independence Avenue, Jefferson Drive, and 4th and 7th Streets, SW. The entrance is on the north side of the building facing the National Mall. You cannot access the museum from the south side along Independence Avenue. Free timed tickets are required for entry into NASM. Tickets can be acquired through the NASM website. Ticket holders will line up near the entrance on the Mall side of the Museum building prior to their entrance time. Entry prior to the time on the ticket is not allowed, but ticket holders can enter after the ticket time.

Parking – Very limited metered street parking is available around the museum. Parking is available in several commercial parking lots in the neighborhood.

Public Transportation

Metrorail – The closest Metro station is L’Enfant Plaza, along the blue, orange, silver, and green lines. From the L’Enfant Plaza Station, take the exit for Maryland Avenue and 7th Street.

Metrobus – Bus stops are located on Independence Avenue, SW, and along 7th Street, SW. Visit the Washington Metropolitan Area Transit Authority for more information.

Command Reading

Capt. Arthur Ray Brooks, America’s Quiet Ace of W.W.I by Walter A. Musciano – Originally published in 1963, Musciano’s concise work provides a brief overview of Brooks’ life with some straightforward accounts of World War I aerial combat. It also includes an interesting assortment of historic World War I photographs of Brooks and his fellow aviators as well as detailed informaton on the aircraft Brooks flew.

They Answered the Call to Arms

July 4, 2025Posted in Revolutionary War, UncategorizedTagged american-revolution, Call to Arms, Continental Army, Fort Belvoir, George Washington, history, military history, National Museum of the United States Army; NMUSA; Fort Belvoir; Ft. Belvoir; US Army; Army, Revolutionary War, tourism, travel, Washington DCLeave a comment

As the smoke cleared at Lexington and Concord on that fateful April day in 1775, supporters of American independence relished in the successes of the brave militia forces.

But they well understood the cause for independence would take a well-trained regular army capable of defeating the British on an open battlefield. Furthermore, this army needed to represent all of America and not dominated by a single colony or region.

On June 14, 1775, the Continental Congress established the Continental Army and appointed George Washington as its commander in chief. In recognition of the Army’s 250th Anniversary, the National Museum of the US Army, at Fort Belvoir, Virginia has opened a special exhibit entitled Call to Arms: The Soldier and the Revolutionary War.

A pair of epilettes belonging to Jeddidiah Huntington of Connecticut.

This pair of major general epilettes belonged to Jeddidiah Huntington of Connecticut. Huntington had encouraged George Washington to adopt this design for general officers’ epilettes.

To tell their stories, museum curators sought and received an abundance of unique and important Revolutionary War era pieces from state governments, private collectors and international organizations. The resulting assemblage of weapons, uniforms, colors and everyday articles includes items that have not before been on public display in the United States.

The 5,000 square foot exhibit is laid out in roughly chronological order. Two innovative topographical battle maps–one of Bunker Hill, the other of Yorktown–bookend the exhibit representing the first and the final battles for the Continental Army. Similar to the twinkle light maps of the past, these three dimensional representations depict the operational plans and troop movements of each battle, accompanied by slick videos providing additional context.

Other battles and campaigns are briefly described with corresponding artifacts, maps and illustrations to connect the visitor to the period. The early struggles in New York and Pennsylvania, the successes in New Jersey, the turning point at Saratoga and the Southern Campaign are put in context and placed in a timeline. Videos enhance these displays describing aspects of 18th century warfare, such as weapons and battlefield tactics.

These displays with brief summaries are a reminder that these battles were fought by soldiers from across the new country. In an era when few people traveled very far from their homes, New Englanders fought in South Carolina and Virginians fought in Pennsylvania. The seeds of our national identity were planted on the battlefields of the Revolutionary War.

A British 3-Pounder gun tube captured at the Battle of Saratoga

Those interested in 18th century weaponry will not be disappointed in their visit. There are many splendid muskets, rifles, carbines, pistols, swords and bayonets. However, the real focus of Call to Arms is the lives of Continental Army soldiers, their motivations, successes, experiences and how they emerged as an effective fighting force.

The lot of a soldier in the Continental Army was a difficult one. Living conditions were challenging, pay was inconsistent, rations and supplies were usually in short supply. These rigors of military life were shared by soldiers from every state.

Still, Americans from the north and south, coastal cities and frontier homesteads answered the call. Then, as now, soldiers enlisted for different reasons. They fought for independence, but also for their communities, comradery, pay, a sense of adventure or because other family members or friends also enlisted.

A plaster casting of Anna Maria Lane, wife of Private John Lane. She followed her husband to camp when he enlisted in the Continental Army in 1776. She took up arms herself and was wounded at the Battle of Germantown in 1777.

Over the eight years of Revolutionary War, about 231,000 men (and some women) served in the Continental Army. Enlistments would ebb and flow based on any number of factors, such as the time of year, local economic conditions and success of the army in the field. The maximum size of the army at any one time was about 48,000 troops.

A portion of the exhibit entitled Camp Life explores the life of the Continental Army soldier away from the battlefield. What soldiers ate, where they lived and their daily activities, such as drill, guard duty and the building of fortifications, are all examined.

A notebook belonging to British Major John Andre. His capture in 1780 led to the identification of General Benedict Arnold as a traitor.

One of the more intriguing group of artifacts are a display of powder horns. These hollowed-out animal horns were essential kit for 18th century soldiers, allowing them to quickly add gunpowder to the flashpans of their flintlock muskets. Soldiers often decorated their powder horns or used them to record important dates or locations.

Accompanying the display is a video screen where digitized images of the complete powder horns can be viewed by visitors to more clearly see the intricate designs. Information about the original owner is also available. The richly decorated powder horns remind us these early soldiers were more than faded names on yellowed muster rolls, but real people fighting for something they believed in.

A powder horn belonging to Private John Bond of Massashusetts.

A powder horn belonging to Private John Bond of Massachusetts. Bond enlisted in the Continental Army on July 4, 1775 and served for five years. He fought at the Battle of Bennington in 1777.

Also included in the exhibit are several very detailed cast figures representing specific individuals who served with the Continental Army. There is southern aristocrat, a Native American tribal chief, even a married couple who served together. They add an important human element to the exhibit’s interesting array of artifacts, well-designed graphics and use of technology.

Continental Army soldiers met many struggles during their service. Sadly, they encountered more upon returning home.

At the end of the exhibit is a collection of documentation which mark the beginning of the process well known to today’s veterans and their families, applying for benefits. At the end of the war, many soldiers went home with promissory notes in lieu of their pay and they struggled economically. Legislation to provide pensions to veterans was slow in coming.

Congress did not pass legislation providing pensions to common soldiers until 1818, thirty-five years after the end of the Revolutionary War. By this time, many veterans had died or lost important records that proved their service. This display though shows pension applications and examples of the documents that Continental Army veterans or their survivors would provide, such as muster roles, discharge papers, and pay records.

The discharge document of Drummer Benjamin Loring of the 2nd New York Artillery.

Call to Arms artfully tells the story of the Continental Army, with its wonderful artifacts and state of the art technology. It reminds us of an important lesson first demonstrated by the Continental Army and continued in today’s United States Army.

George Washington reflected on it in his farewell message to his troops as he wrote: Who that was not a witness would imagine … that Men who came from different parts of the Continent … would become but one patriotic band of Brothers.

Washington well understood the unity forged among his soldiers was crucial for achieving their shared goal of victory.

250 years later, it is still a lesson to remember.

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Route Recon

Call to Arms is on display at the National Musuem of the United States Army until June 2027. The musuem is open daily from 9:00 AM – 5:00 PM except on Christmas Day. Visit the museum’s website for free entry tickets.

The musuem is located in a publically accessible portion of Fort Belvoir, Virginia. The museum address is 1775 Liberty Drive, Fort Belvoir, VA 22060, but be aware not all GPS systems recognize the Museum’s street address.

You can download a map with directions here.

Military History on the Mall

May 22, 2025Posted in UncategorizedTagged American HIstory Museum, Civil War, history, Korean War, military history, museums, National Mall, National Musuem of American History, Revolutionary War, Smithsonian Institute, The Price of Freedom, travel, Viet Nam War, Washington DC, Washington DC travel, World War IILeave a comment

For the past 250 years, Americans have consistently answered the call to war.

To answer that call, they often left behind civilian lives, families, and communities. Wars are never fought in a vacuum. With each conflict, there are corresponding impacts on American life and society.

On Veterans Day, 2004, the Smithsonian Institute’s National Musuem of American History, located on the National Mall, opened an ambitious military history exhibit to explore not just battles and campaigns, but rather the many ways wars have physically, culturally and economically shaped America throughout its history.

A French four pounder field cannon, a gift to the Americans from the Marquis de Lafayette

Entitled The Price of Freedom, Americans at War, the exhibit was designed to be extensive, occuping over 18,000 square feet and examining 16 conflicts in nine different galleries. Visitors follow a maze-like path through these chronologically arranged galleries, from the French and Indian War through Iraq and Afghanistan.

In designing The Price of Freedom, curators stayed away from displays comprised largely of weapons and uniforms (although there are still plenty of those). Rather, they identified over 800 unique artifacts from the Smithsonian’s extensive collection. Some of the more notable items on display include George Washington’s sword and scabbard, the chairs used by Ulysses S. Grant and Robert E. Lee at Appomattox and a Willys Jeep from World War II.

A melt resistant chocolate bar developed by the Hershey Company and provided to US servicemembers in the Pacific Theater during World War II

However, head curator David Allison sought a symmetry in the selection of the artifacts. He wanted to display noteworthy items along with more common articles reflecting the service members and their times, such as rations, books and playing cards.

In addition to the artifacts, exhibit designers use photographs, contemporary illustrations, videos, interactive stations, and other features to help interpret the wartime experience and immerse the musuem visitor in the time.

The most unique display is in the Vietnam War gallery where 16 different 1960’s-era television sets show contemporary footage and commentary depicting how Americans experienced the Vietnam War at home. The viewing area for the televisions is reminiscent of a mid-century living room, complete with a blocky couch and chair covered in thick clear plastic as your grandmother or aunt might have had.

The Revolutionary War, Civil War, World War II and Vietnam War galleries are the largest. These spaces immerse you in the story of the war and how it impacted soldier and civilian alike.

The Wars of Expansion Gallery is smaller, but provides important context and accounts for a series of 19th century conflicts, such as the Battle of Little Bighorn and the Spanish-American War, which may be less familiar to many visitors.

The mix of artifacts and displays broadens the appeal of The Price of Freedom to a wider audience. Those with less interest in military subject matter should still enjoy viewing some of the more unique items while serious students of history are sure to come away having learned something new.

General George Custer’s buckskin coat

While in most cases The Price of Freedom achieves its aims, there are a few shortcomings.

Unfortunately, the exhibit space for World War I is too limited. The display misses or minimizes some important themes, such as the rapid expansion of the Army, the mobilization of the American economy, the changing role of women in the military, and the emergence of the United States as a world power.

The Gulf War display is similarly small, seemingly limited to uniforms worn by Colin Powell and Norman Schwarzkopf.

There is also an unfinished feel to the exhibition space for the wars in Iraq and Afghanistan. This is understandable as the original exhibit opened in 2004 before those conflicts ended. However, there is space for a more complete examination of both those conflicts than is currently provided.

Chairs used by Grant and Lee at Appomattox.

The chairs used by Ulysses S. Grant and Robert E. Lee at Appomattox.

At the conclusion of The Price of Freedom is a short film with veterans reflecting on their motivations and sacrifices of their service in the American military. The film concludes with scenes from U.S. military cemeteries showing orderly tombstones and listing the number of interments.

There are also recurring references to casualites throughout the galleries in keeping with the intent of the exhibit principal funder, Kenneth Behring. He desired the exhibit specifically to recognize the ultimate sacrifices made by American men and women who died in wartime.

Even with a few flaws, two decades after its opening, the Price of Freedom remains true to its original mission. As America prepares to celebrate its 250th anniverary, this important exhibit gives visitors a thorough synopsis of America’s military heritage and its significant influence on our national character.

Washington's sword and scabbard — **George Washington’s sword and scabbard from the American Revolution**

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Route Recon

The Smithsonian National Museum of American History is located at 1300 Constitution Avenue N.W., Washington, D.C. 20560

The nearest Washington DC Metro Stations are Federal Triangle and Smithsonian. Both stations are on the Metro Blue, Orange and Silver lines.

There is no public parking facility for the Smithsonian museums on the National Mall. A limited number of city-operated metered parking spaces along adjoining streets are available.

The Musuem is open daily (except Christmas Day) from 10:00 AM to 5:30 PM.

Consult the Musuem’s website for more information about other exhibits.

Please note: The Price of Freedom, Americans at War exhibit includes some graphic images of war and casualties.

A guide to the exhibit is available here.

The National Native American Veterans Memorial, A Welcoming Place

April 13, 2025Posted in UncategorizedTagged Code Talkers, Harvey Pratt, military history, National Mall, National Museum of the American Indian, National Native American Veterans Memorial, travel, Washington, Washington DC, Washington DC travelLeave a comment

In 1942, the US Marine Corps recruited Chester Nez, and twenty-eight fellow members of the Navajo tribe for a special mission. After basic training, they were sent to Camp Elliot, California where they developed a cipher code for transmitting radio messages based on the Navajo language. Each member committed the straightforward code to memory.

With the code complete, the platoon members then deployed to units in the Pacific Theater. Nez was assigned to the 1st Marine Division on Guadalcanal. His first encoded transmission led to an artillery strike which destroyed an enemy machine gun nest.

Nez would later see combat at Bougainville, Guam and Peleliu, all the while relaying messages in a radio code the Japanese could never crack. For their contributions in developing such an unbreakable code, as well as their bravery in the field, Chester Nez and his twenty-eight fellow Marines were awarded the Congressional Gold Medal in 2001.

A stone wall with the seals of five of the armed forces marks the entryway to the National Native American Veterans Memorial. — **Native Americans have served in all branches of the American military throughout our history.**

The code talkers, as these men were known, are today one of the better known examples of Native Americans serving in the American military. However, Native Americans, Alaskans and Hawaiians have long served in the Armed Forces, from Valley Forge through Iwo Jima to Iraq and Afghanistan. Today there are approximately 140,000 veterans of Native heritage.

In 2013, Congress amended legislation to direct the National Museum of the American Indian to build a memorial so all Americans can learn “of the proud and courageous tradition of service of Native Americans”.

As part of a nationwide competition, a design committee selected a proposal entitled Warrior’s Circle of Honor submitted by Harvey Pratt, a self-taught artist and Marine veteran from Oklahoma and a member of the Cheyenne and Arapahoe Tribes. As the name suggests, the circle is the prominent shape of the memorial’s features.

The focus of the memorial is a vertically oriented stainless-steel circle, situated on a carved stone drum surrounded by circular seating area and gathering space.

The circle is relevant in many Native American cultures. It represents the cycle of life, as well as the four seasons, the sun, the moon and the orbits of the planets and stars. Native communities also gather in circles for ceremonies, festivals and storytelling.

The memorial design is about more than the circle of course. Pratt also sought to create a space for servicemen and women, veterans and their families to heal by combining the elements of water, wind, and earth into the memorial’s design.

Water glistens as it flows over the carved stone drum at the National Nafive American Veterans Memorial.

Flowing water glistens atop the carved stone drum at the National Native American Veterans Memorial

Water pulses across the surface of the stone drum and flows down its side creating a central fountain. The stone work around the drum contains a visual echo of the water, with concentric rings in the stone walkways around the drum. The depiction represents the beating of the drum, hearkening all to gather in the space.

Around the seating area are four spears pointed skyward. The spears hold prayer cloths visitors have tied to the base of the spears allowing the wind to carry the intentions of the prayer cloths to the heavens.

Finally, a park-like setting is built around the memorial combining hardwood trees and a wetland pond. The setting is intended to provide privacy for visitors while a soundtrack of Native American veterans songs aids in reflection.

Two spears, pointed toward the heavens with prayer cloths tied to their bases.

The memorial is located to the east of the main entrance plaza of the National Museum of the American Indian. A large stone marker with the emblems of the five branches of the Armed Forces marks the way.

Within the museum, an exhibit entitled Why We Serve provides background, rationale and compelling examples through history of the military service of Native Americans, Alaskan Natives and Native Hawaiians to the United States. The exhibit is also available online.

The memorial is above all a welcoming place. Welcoming to Native Americans and their families to heal and reflect. Welcoming to other visitors as well to learn, to rest and also to consider the meaning of service to country and community.

**A white ribbon prayer cloth tied to the base of a spear.**

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Route Recon

The National Museum of the American Indian is located on the south side of the National Mall at the intersection of Fourth Street & Independence Avenue, SW Washington, DC 20560. The main entrance faces east toward the US Capitol Building.

The nearest Metro stations are L’Enfant Plaza and Federal Center SW.

The museum does not have parking. There is limited metered public parking on the surrounding streets. There are also several commercial parking garages nearby the museum.

The National Native American Veterans Memorial is accessible 24 hours a day.

Learn more about Chester Nez and his fellow Navajo Code Talkers from the Veterans History Project of the Library of Congress.

Mess Call

The Mitsitam Cafe, located within the National Museum of the American Indian offers a very broad menu of entrees, sandwiches and desserts reflecting Native American cuisines from across the country, such as grilled salmon, bison burgers and lobster roll. The cafe offers some of the tastiest food to be found on the National Mall.

Command Reading

Why We Serve by Alexandra N. Harris and Mark G. Hirsh. Why We Serve was published by the National Museum of the American Indian to commemorate the opening of the National Native American Veterans Memorial in 2020. The book explores the complex history of Native Americans serving in the US military with intriguing photographs, maps and artwork combined with compelling first person accounts.

Hancock, the Superb

February 14, 2025Posted in Civil WarTagged Archives-Navy Memorial, Civil War, gettysburg, history, Lewis Armistead, military, military history, Penn Quarter, travel, Washington DC, Washington DC travel, Winfield Scott HancockLeave a comment

Statues of military leaders on horseback are a common site in plazas and squares around Washington, DC. While the statues might seem ordinary, the men featured on them are usually not. This is certainly the case with the statue of General Winfield Scott Hancock in the Penn Quarter neighborhood near the Navy Memorial.

It is hard to imagine a military career today as the one experienced by this 19th century Army leader.

As the Union Army was quickly expanding to meet the grim realities of the Civil War, Major General George McClellan, Commander of the Army of the Potomac, promoted his long-time acquaintance Hancock from captain to brigadier general and assigned him to brigade command.

Hancock would go onto distinguish himself during the war, earning the nickname “Hancock the Superb”. He ultimately served 42 years on active duty and 25 years as a general officer.

The equestrian statue of Winfield Scott Hancock. — **The statue of General Winfield Scott Hancock**

In 1896, the equestrian statue was dedicated to Hancock portraying the famous general in his more senior years. But the simple monument does not tell the full story of this highly respected Union Army general.

Hancock hailed from Montgomeryville, Pennsylvania. He was the son of a lawyer in a locally prominent Democratic family. His parents named him after Winfield Scott, the Army’s most senior officer at the time. His name was apt. From an early age, the young Winfield demonstrated a keen interest in military affairs. He could often be found leading young boys in a “youth militia company” on marches through town.

At the age of 16, he was accepted at West Point, graduating in 1844.

Assignments followed in the west and in Mexico during the Mexican-American War. After the war, Hancock often received Quartermaster assignments which taught him important lessons in logistics, organization and how to navigate the Army’s bureaucracy. His affable nature, technical proficiency and dashing good looks earned him an excellent reputation among his soldiers, colleagues and superiors.

A photograph of General Winfield Scott Hancock taken sometime between 1861-1865 by Brady’s National Photographic Portrait Galleries

-Library of Congress

Militarily, Hancock is probably best remembered for his actions as a corps commander in the Union Army of the Potomac at the Battle of Gettysburg in 1863. In the prelude to the fighting, Hancock arranged Union troops in a broad defensive position along high ground south of the town. Once the fighting began in earnest, Hancock led from the front, quickly maneuvering his troops to reinforce positions along the Union line. On the third day of the battle, Hancock was severely wounded in the thigh during Confederate General George Pickett’s famous charge against the Union center.

Hancock would not leave the field until rebel troops had been repulsed. He would take five months to convalesce and would never completely heal from the wound.

Early in his career, Hancock became very good friends with a North Carolina-born officer named Lewis Armistead. However, in 1861, while both were stationed in California, they said their good-byes and headed east, destined to fight on different sides. The two faced each other on the final day of Gettysburg when Armistead led a brigade as part of Pickett’s Charge against troops commanded by Hancock. Armistead was fatally wounded during the battle and died two days later.

A photograph of Lewis Armistead, taken between 1861 and 1865, by an unknown photographer.

Both Hancock and Armistead are portrayed in Michael Shaara’s historical novel The Killer Angels and his son Jeffrey Shaara’s similar novels The Last Full Measure and Gods and Generals, as well as the films Gettysburg (1993) and Gods and Generals (2003).

There is scant historical evidence to support some of the depictions and dialog of the friendship between Armistead and Hancock portrayed in the novels and films. However, Captain John Bingham, an officer on Hancock’s staff, spoke with Armistead before he died. He would later write to Hancock with Armistead’s parting words to him: “Tell General Hancock for me that I have done him and done you all an injury, which I shall regret the longest day I live.”

In July of 1865, it was Hancock who supervised the execution of several of John Wilkes Booth’s conspirators in the assassination of President Lincoln. He would later be assigned as military governor of Louisiana and Texas during Reconstruction. His Democratic leanings, including his endorsement of the quick return of civil authorities, put him at odds with Republicans in Washington and with his former commander (and later President) Ulysses S. Grant.

A commemorative handkerchief featuring the images of Democratic Presidential candidate Winfield Scott Hancock and Vice Presidential candidate William English

-Library of Congress

While remaining in the Army, Hancock tested politics several times. After two attempts, he secured the Democratic nomination for president in 1880, but lost to a Republican (and former Union General) James Garfield.

Hancock died at age 61 in 1886 from an infection and complications of diabetes while serving as Commander of the US Army’s Department of the Atlantic. His death surprised the country as the condition of his health was unknown to most everyone.

$2 Silver Certificate with portrait of Winfield Scott Hancock. — **Following his death, Hancock was placed on the $2 Silver Certificate bill**

Tributes to Hancock poured in from military, civic and political leaders from across the country. Perhaps the most stirring came from a political rival and former president, Rutherford B. Hayes:

“If, when we make up our estimate of a public man, conspicuous, as a soldier and in civil life, we are to think first and chiefly of his manhood, his integrity, his purity, his singleness of purpose, and his unselfish devotion, we can say truthfully of Hancock that he was through and through pure gold.”

Hancock’s statue is made of bronze, not gold, but he was the gold standard of an officer and a gentlemen.

* * *

Route Recon

The Statue of Winfield Scott Hancock is located just south of the Archives-Navy Memorial-Penn Quarter Metro Station.

Command Reading

Armistead and Hancock: Behind the Gettysburg Legend of Two Friends at the Turning Point of the Civil War by Tom McMillan. This dual biography of two leading Civil War generals provides new scholarship and analysis of their lives and careers and specifically details their friendship from its earliest days up to the Battle of Gettysburg.

Over 100 Years Later, DC’s World War I Memorial Is Now Complete

November 24, 2024November 24, 2024Posted in World War ITagged A Soldier's Journey, First World War, history, John Pershing, military, military history, Pershing Park, Sabine Howard, tourism, travel, Washington DC, Washington DC travel, Willard Hotel, World War I, Young Soldiers Do Not SpeakLeave a comment

Each day, shortly before 5:00 pm, an individual in a First World War U.S. Army “Doughboy” uniform exits the stately Willard Hotel and crosses Pennsylvania Avenue, bound for the Washington DC area’s newest memorial, the National World War I Memorial.

The Doughboy carries a bugle, and positions themselves under the memorial’s flagpole. Precisely at 5:00 o’clock, the bugler plays the mournful notes of Taps. The bugle notes echo through the plaza inviting all who hear to pause and remember the 4.7 million American men and women who fought in World War I and especially the estimated 126,000 Americans who gave their lives in the “war to end all wars”.

Bugler in World War I uniform - World War I Memorial - Washington DC

A bugler in his World War I uniform

In a bit of irony, for over a century there has not been a national memorial in the capital city to World War I. There are other important World War I monuments in and around Washington, but not a single, focused and comprehensive national memorial to the war that shaped so much of the 20th century and America’s role within it. Yet that changed in 2021 when a partially constructed memorial was dedicated and opened to the public. Three years later, the final and dramatic piece of the memorial was installed capping a years long effort and bringing Washington, DC’s National World War I Memorial to fruition.

Pershing Park

The National WWI Memorial is located in what was formerly known as Pershing Park, a parcel of land originally laid out as part of the redevelopment of Pennsylvania Avenue in the 1970s. Located between 14th and 15th Streets and Pennsylvania Avenue, the park was dedicated to General of the Armies John J. Pershing and the American Expeditionary Force (AEF) and formally opened in 1981.

The park featured an eight-foot-tall statue of Pershing standing straight and surveilling the horizon with his binoculars in hand. A wall perpendicular to the statue displayed maps and details of the AEF’s operations in Europe.

The statue of General of the Armies John J. Pershing at the National World I Memorial

General John J. Pershing statue - National World War I Memorial - Washington DC

Also included were a fountain that could be converted to a skating rink during the winter months, a glass concession stand and sitting areas. Abundant landscaping was added to provide a natural setting within a busy urban corridor. Earthen berms covered with grass surrounded the park on three sides, shielding the grounds from traffic noise.

Unfortunately, maintenance funds for the park’s unique features were scarce. Some aspects of the park fell into disrepair, trash accumulated and the landscaping neglected.

However, when the World War I Centennial Commission went in search of a venue for a national memorial to World War I in the nation’s capital, it ultimately decided on a redesigned Pershing Park as the best location.

Visitors walk through an open plaza at the National World War I Memorial.

With the clock ticking on the 100th Anniversary of the armistice, the commission expedited the truly lengthy process for approving new landmarks in Washington. The approach was not without controversy. Community and architectural groups grew concerned the new designs abandoned the original intent of an open green space in the middle of the city.

Ultimately, in 2016, a design submitted by architect Joseph Weishaar was selected. His approach was to use the existing footprint of the 1.76 acre park situated in a busy downtown area just southeast of the White House. Weishaar retained Pershing’s statue, the AEF Wall and the earthen berms but planned new features that expanded the interpretation of World War I.

One new addition is known as the belvedere, a raised, enclosed circular area located near the northeastern entrance of the park. The belvedere serves as the memorial’s orientation center. Interpretive signage installed along the interior of the wall familiarizes the visitor to “the Great War” and the roles played by American forces. The belvedere’s elevation provides clear lines of sight to the memorial’s features.

Willard Hotel in the background of the belvedere at First World War Memorial.

The circular wall of the belvedere is inscribed with the campaign names of the First World War. In the background is the Willard Hotel.

A Soldier’s Journey

Across the plaza from the belvedere, over a shallow reflection pool is the most prominent aspect of the the new memorial, a large relief sculpture entitled A Soldier’s Journey by Sabine Howard. The sculpture’s installation in September of 2024 completes the National World War I Memorial.

The sculpture stretches 58-feet long and includes 38 separate statues. Designed to be viewed from left to right, the sculpture tells the story of an American soldier’s experience across a series of tableaus.

Howard and his team followed a meticulous process beginning with over 12,000 drawings and photographs of models in various poses, which he used to create foam models. These foam models were then covered in clay so accurately that every uniform crease, garment wrinkle, weapon detail, and facial expression were painstakingly rendered. The clay-covered models were then used to create the molds in which the bronze statues were cast.

Sabine Howard - sculpture - A Soldier's Journey — **Sabine Howard’s sculpture “A Soldier’s Journey”**

Howard used combat veterans as his models, believing their faces would more accurately portray the effects of war. All the uniforms and equipment used by the models were century-old artifacts, not reproductions. Through this extensive detail, Howard invites the viewer into the story.

The effort took about eight years to complete.

The story begins with the soldier receiving his helmet from his young daughter. He then joins fellow soldiers as they march off. The next scene shows them charging at the enemy through no-mans land. The costs of war, both physical and psychological, are shown next as nurses comfort the afflicted while our soldier looks blankly at the viewer with a harrowing gaze.

In a dramatic scene from the sculpture entitled the Ordeal, American soldiers charge the enemy.

A dramatic scene from the sculpture A Soldier's Journey at WWI Memorial in Washington DC

The soldier then returns home as part of a victory parade. In the last scene, the soldier hands the helmet back to his daughter. Rather than depicting a joyous scene, this one is foreboding. The soldier has a look of deep resolve on his face. The daughter stares into the helmet, wearing a troubled expression. She represents the Greatest Generation, who would soon take up the mantle once again and fight another war.

Howard’s work is powerful and thought provoking, but the story told through the sculpture is a familiar one. With some changes to the uniforms and equipment, the story could be about any war.

This was Howard’s desired effect. He wanted a sculpture that asks the questions any war memorial should ask: Was it worth it? What did we gain? What did we lose? What did we learn?

Other Features

On the reverse of the sculpture wall, water gently cascades over an inscription taken from a haunting poem entitled The Young Soldiers Do Not Speak by Archibald MacLeash. MacLeash’s poem is written from the perspective of deceased soldiers who tell the living that it is up to the them to give meaning to the lives the soldiers lost. MacLeash was a veteran of the First World War who became a noted writer, poet and editor. President Roosevelt appointed MacLeash as the Librarian of Congress in 1939. He wrote a poem in 1940 in honor of the Library of Congress staff who died in World War I.

“We were young, they say, we have died, remember us”

– From The Young Soldiers Do Not Speak by Archibald MacLeash

A unique aspect of the memorial are the circular benches arrayed around the southern and western edges of the memorial plaza. Unlike similar war memorials in Washington, the inclusion of these sitting areas provides an appointed space available for rest and reflection, a gathering spot for friends or even an area for discussion about World War I. Trees and ornamental grasses around the memorial plaza provide a peaceful sense to aid in reflection.

Additionally, the live playing of Taps daily adds a human element to the stone and bronze of the memorial. The daily bugler initiative is coordinated by the Doughboy Foundation. Through the foundation’s website, members of the public can sponsor each day’s rendition in remembrance of an individual. The name of the day’s honoree and the scheduled bugler can be learned by scanning a QR code on a sign near the memorial’s flagpole.

Bugler - Doughboy Foundation - bugler playing Taps

Taps is sounded daily at the National World War I Memorial.

The evolution of Pershing Park into Washington DC’s National World War I Memorial has brought new life and purpose into this downtown space. The area is now more inviting and interesting, drawing more people in to learn about the American role in World War I and to remember those who fought and died.

At the dedication ceremony for the sculpture, Architect Joseph Weishaar remarked: “We don’t build memorials for the dead. They are for the living. We build them to protect and preserve our memories and our stories.”

While it seems so long ago, World War I continues to impact issues of the 21st century, such as the geopolitical situations of Eastern Europe and the Middle East, the immigration system we know today, defense spending, women’s rights, and the role of America on the world stage to name only a few.

However, as World War I moves deeper into history, maintaining the stories and learning its lessons becomes imperative. For if we lose them, we lose a big piece of who we are.

Route Recon

The World War I Memorial is accessible 24 hours a day, seven days a week. The memorial is located in downtown Washington, DC between the intersections of 14th and 15th Streets Northwest and Pennsylvania Avenue.

The closest Metro Station is Federal Triangle, located about three blocks away on the Blue, Orange and Silver Lines. Metro Center Station on the Red Line is located about flour blocks away to the north.

A Moment on Iwo Jima Became a Monument for All Time

April 28, 2024Posted in Uncategorized, World War IITagged Arlington Ridge Park, Corporal Harlon Block, history, Iwo Jima, Iwo Jima Memorial, Joe Rosenthal, Private First Class Harold Keller, Private First Class Harold Schultz, Private First Class Ira Hayes, Sergeant Michael Strand, Sunset Parades, travel, United States Marine Corps, United States Marine Corps War Memorial, united-states, Washington DC, Washington DC monumentsLeave a comment

You may not know the name Joe Rosenthal, but you have seen his work. Rosenthal was a photographer for the Associated Press (AP). On the afternoon of February 23, 1945, in 1/400th of a second, Joe Rosenthal took one of the most iconic photographs in American history. Seven decades later, his image of six United States Marines in combat gear raising an American flag still captivates the mind and stirs the soul.

The photograph inspired a famous sculpture that is now recognized around the world as a symbol of the United States Marines. Known officially as the United States Marine Corps War Memorial, it is dedicated “For the Marine dead of all wars, and their comrades of other services who fell fighting beside them, since the Marine Corps’ founding in 1775”.

The memorial is located in Arlington Ridge Park, a broad, open green space on the edge of the busy Arlington neighborhood of Rosslyn and in close proximity to Arlington National Cemetery. Situated on high ground overlooking the Potomac River, the park is a natural venue for the memorial.

Upon approaching the memorial, the first impression is of its size. The entire monument is more than five stories high. The thirty-two foot bronze figures of the Marines stand on a polished, black granite oval base. A green patina on the bronze adds color to the figures’ carefully sculpted fatigue uniforms.

Around the base of the statue, notable battles fought by United States Marines from the Revolutionary War through the present day are engraved in gold lettering. Fleet Admiral Chester Nimitz’s observation that among those Americans who served on Iwo Jima, “uncommon valor was a common virtue” is prominently inscribed on the west side of the memorial.

A circular trail around the park features interpretive signs providing background information on the Battle of Iwo Jima, the famous photograph, facts about the statue, and the history and missions of the US Marines.

A miniature statue for the vision impaired included on an interpretive sign near the memorial.

The Marine Corps traces its history back to 1775 when the Continental Congress authorized the recruitment of two battalions of Marines to provide the fledging Continental Navy with a ground operations force. Since then, the Marines have engaged in every major conflict and a number of expeditionary operations. As the Marine Corps Hymn declares, the Marines have “fought in every time and place…” including some places you might not expect, such as the Civil War’s First Battle of Bull Run and the Battle of Belleau Wood during World War I.

In the decades before World War II, the Marine Corps developed and refined the doctrines, tactics and training for amphibious landing operations, where Marines would storm ashore from landing craft prepared to fight. Their proficiency in these complicated maneuvers was instrumental to the success of the Allied “island hopping campaign” in World War II’s Pacific theater. In early 1945, the island of Iwo Jima became the next strategic objective. By this time in the war, US B-29 Superfortress bombers could reach the main Japanese islands from airstrips on Guam and Saipan. However, both the airstrips and the B-29 in-flight formations were often attacked by Japanese fighters based on Iwo Jima.

As they prepared, the Marines knew Iwo Jima would be a tough fight. Unlike earlier battles, the Marines would be landing on Japanese territory, not an occupied island. The Imperial Japanese Army had approximately 23,000 soldiers on Iwo Jima, occupying an extensive tunnel and fortification system.

On February 19, 1945, approximately 70,000 Marines and Navy support personnel landed on Iwo Jima. After days of heavy fighting, Marines of the 2nd Battalion, 28th Marine Regiment made steady progress in their mission to capture Mount Suribachi, a dormant volcano that was the highest point on the island. By the morning of February 23, they reached the summit.

The first Iwo Jima flag raising. A small flag carried ashore by the 2nd Battalion, 28th Marines is planted atop Mount Suribachi on February 23, 1945.

– Staff Sergeant Louis R. Lowery, USMC

At the top, an American flag was raised so that troops across the island would see the Marines now held the high ground. At the sight of the flag, Marines cheered and Navy ships sounded their horns.

But the flag was only about 4-feet-long and not quite visible at a distance. A few hours later, an 8-foot-long flag was acquired and sent up to the Marines on Mount Suribachi. As six Marines quickly planted the second flag, Joe Rosenthal captured the moment for posterity.

Once the flag was raised, the Marines quickly dispersed as fierce fighting continued. Four more weeks of intense combat were yet to come. The landing force sustained 24,053 causalities, roughly one third of those who landed. Three of the men in the photo were among the 6,140 Marines and Navy corpsmen who would lose their lives on Iwo Jima, the deadliest battle ever for the Marine Corps.

But there were instances of great heroism as well. Twenty-seven men were awarded the Medal of Honor for their service at Iwo Jima (about half of them were presented posthumously).

**Joe Rosenthal’s famous photograph of the second flag raising on Iwo Jima**.

Joe Rosenthal was carefully balancing himself on some rocks and sandbags as he quickly snapped his famous photograph without using the viewfinder.

He was unaware of how the picture would turn out as he sent the film to Guam for developing a few hours after taking the photo. The developed pictures crossed the desk of an AP photo editor named John Bodkin. Bodkin’s job was to scan through the photos submitted by his photographers across the Pacific theater for use in American newspapers. Upon seeing Rosenthal’s picture, he knew it was special, proclaiming “Here’s one for all time!”

He immediately arranged to transmit the picture to the AP Headquarters in New York. It arrived in time to be printed on the morning of February 25th in the Sunday editions of newspapers all over the United States. The photograph was an instant sensation. The previous week’s grim news of the terrible combat and heavy casualties on Iwo Jima were now replaced by a picture showing American progress and determination. Rosenthal won the Pulitzer Price for the photo and it would become the main symbol of the 7th US War Loan campaign.

US Department of the Treasury poster for the 7th War Loan. The campaign would raise over $26 billion during the spring of 1945.

Sculptor Felix W. de Weldon, an artist on active duty with the US Navy, was one of the millions who saw the image. Captivated by the photograph, he began modeling the image in clay, then building a life size representation.

He proposed building a grand monument based on Rosenthal’s photograph. With the consent of both Congress and the Marine Corps he began working on plaster models from which bronze castings for the statue were made.

A private fundraising campaign was begun to build the statue based on de Weldon’s work. Over $850,000 was raised from Marines, veterans, and other supporters. He modeled the faces, frames and other features of three men who survived the battle and were believed at the time to be in the photo. He used photographs and information about the fallen Marines to model their images.

After years of hard work, the memorial was dedicated by President Dwight D. Eisenhower on November 10, 1954. In 1961, President John F. Kennedy signed a proclamation authorizing the US flag to be flown at the memorial 24 hours a day.

Shortly after the photo was taken, there were issues with identifying the men in the picture. Rosenthal did not record the names of his subjects and his picture shows no faces. An event that took about ten seconds became a distant memory in the face of the intense fighting on Iwo Jima. The initial efforts to identify the figures lead to unfortunate errors. The first misidentification was corrected in 1947 as Corporal Harlan Block was identified as the Marine planting the flag pole into the ground. For many decades it was believed a Navy Corpsmen named John Bradley and a Marine named Rene Gagnon were in the photograph.

In the 2010’s researchers studying Rosenthal’s and other photographs (there were both Army and Marine Corps photographers present at the time) of the flag raising carefully examined the uniforms and equipment of the flag raisers. They concluded that two different Marines and neither John Bradley nor Rene Gagnon were actually in the photograph. The Marines convened two official Boards of Inquiry, one in 2016 and another in 2019. After thorough examinations of the evidence to include some previously unknown photographs of the second flag raising, the boards concurred.

Note the sculptor Felix de Weldon’s precise detail on the Marines’ uniforms and equipment. Given the large size of the statues, the canteen would hold eight gallons of water.

In public statements, the Marines explained the importance of being factually correct, but noted that nothing in the historians’ research nor the boards’ findings diminishes any of the contributions of the Marines and other servicemen who fought on and around Iwo Jima.

Visitors to Washington, DC should include the US Marine Corps War Memorial on their short list of destinations to visit, especially if they have a connection to the Marine Corps. Unlike many other Washington-area landmarks, visiting the Marine Corps Memorial is fairly straightforward. Unless there is a special ceremony, the park is often quiet and peaceful. Free parking is available and the Rosslyn Metro Station is a ten-minute walk away.

But ease in visiting an iconic sculpture is only one reason. Joe Rosenthal’s photograph and the memorial it inspired gained fame for what their subjects represent: critical values, such as teamwork, dedication and sacrifice. These values made the Marine Corps an effective fighting force throughout its history.

Indeed, these values–like the photograph and the monument–are for all time.

* * *

According to the US Marine Corps, the following six Marines are depicted on the memorial (from right to left):

Corporal Harlon Block, (depicted at the base of the flag pole)

Private First Class Harold Keller

Private First Class Franklin Sousley

Sergeant Michael Strand

Private First Class Harold Schultz

Private First Class Ira Hayes

* * *

Route Recon

The US Marine Corps War Memorial is located in Arlington Ridge Park. The address is 1000 Marshall Drive, Arlington, VA 22209.

Park Hours are 6:00 AM – Midnight daily. Restrooms are located at the park.

By Car

From VA 110 south turn right onto Marshall Drive, then follow signs for the US Marine Corps War Memorial.

From US 50 east take the exit for Rosslyn and the Key Bridge. Turn right onto Meade Street at the top of the ramp. Turn left on Marshall Drive, then follow the signs for the US Marine Corps War Memorial.

From US 50 west cross into Virginia on the Roosevelt Bridge and take the exit for Rosslyn and the Key Bridge. Turn left onto Meade Street at the top of the ramp. Turn left on Marshall Drive, then follow the signs for the US Marine Corps War Memorial.

Parking is available at the US Marine Corps War Memorial. Special events may limit parking.

By Metro

The memorial is a 10-15 minute walk from the Rosslyn Metro Station on the Blue Line.

Arlington National Cemetery

Arlington Ridge Park adjoins Arlington National Cemetery. Use Arlington National Cemetery’s Ord & Weitzel Gate gate to access the park and the memorial.

Sunset Parades

On designated Tuesday evenings during the summer, the US Marine Corps holds Sunset Parades at the memorial. The Sunset Parades are a 45-minute performance featuring the US Marine Band, the United States Marine Drum and Bugle Corps and the Marine Corps Silent Drill Platoon.

Command Reading

Flag of Our Fathers – This book was authored by James Bradley, son of Navy Corpsman Jack Bradley who was believed to be one of the flag raisers in Joe Rosenthal’s famous picture. The younger Bradley set out to write a book telling the life stories of the individuals associated with the flag raising. Published in 2000, long before it was concluded that two of the book’s subjects did not actually take part in the flag raising, the book provides compelling background on the lives of these Marines and gripping accounts of the combat on Iwo Jima. Bradley also provides details on how Joe Rosenthal took the famous photo as well the 7th War Loan fundraising campaign.

African American Military History on the National Mall

February 27, 2024Posted in UncategorizedTagged African American Musuem, African Americans, Bucks of America, Buffalo Soldiers, Colin Powell, Double V Campaign, Harlem Hellfighters, history, National Mall, National Museum of African American History and Culture, Smithsonian Institute, travel, Washington DC, Washington DC travelLeave a comment

From Bunker Hill in 1775 to Bagdad in 2005, African Americans have served in the American military throughout our history. Their experiences are told as part of the larger African American saga at the Smithsonian’s newest museum, the National Museum of African American History and Culture.

Decades in the making, this museum opened in 2016 and attendance has now grown to over 1.6 million annual visitors. With over 3,500 artifacts on display, the museum’s broad expanse of exhibits reflect critical aspects of African American life such as slavery, civil rights, sports, music and military service.

A “soup bowl” style helmet worn during World War I. Soldiers of the US 369th Infantry Regiment, the Harlem Hellfighters, are pictured behind the helmet.

Situated on the National Mall, the exterior features a distinctive bronze colored filigree, a tribute to the timeless work of African American metal artisans. It sets this structure apart from the neoclassical and modernist designs of the neighboring government buildings.

The bright, spacious lobby, known as Heritage Hall, features diverse artwork with copper metallic and gray walls, complimenting the museum’s unique exterior. From here, the visitor may choose their entryway into the African American experience presented in the museum. The escalator down leads to the History Galleries while upstairs are the Community and Culture Galleries, which reflect more contemporary times and themes.

Tracing African American military history will ultimately lead in both directions.

Begin the journey in the downstairs galleries, which present over 400 years of African American history, from the establishment of the African slave trade through the Civil Rights era. African American military service during America’s wars is presented chronologically as part of the larger narrative of African American life. The galleries and exhibits devoted to four major conflicts all convey the recurring theme of how time and again African Americans fought bravely in wars for freedoms they themselves did not possess.

A large gallery dedicated to the Revolutionary War explores how enslaved Blacks served on both sides, motivated by promises of freedom.

The flag of the Bucks of America, a Black paramilitary group founded in the Boston area. It is believed the group protected the property of Patriot merchants who had left Boston to fight in the Revolutionary War.

Historians estimate approximately 5,000 – 6,000 Blacks served in the Continental Army or in colonial militias. They were involved in every major Revolutionary War battle and most smaller engagements. Units such as the First Rhode Island Regiment, comprised mostly of Blacks, gained renown for their discipline and skills as soldiers. Additionally, experienced Black seamen were actively recruited by the Continental and Royal Navies and served in many different operational capacities.

The war’s conclusion in 1783 brought freedom for some Black soldiers and sailors, but many were returned to slavery, either in America or other portions of the British Empire.

The Civil War gallery focuses largely on the many contributions of the US Colored Troops to the Union war effort. While newly freed slaves could receive paid work from the Army as early as 1861, they could not serve as Army soldiers until January 1863.

A kepi cap worn by a soldier from the 4th Regiment Heavy Artillery, US Colored Troops

Ultimately, about 179,000 African Americans enlisted in the Army from both the North and South. They were organized into segregated infantry, cavalry and artillery regiments with white officers and designated as US Colored Troops. Initially, they were paid less than white soldiers and given menial jobs to perform. In time though they earned full pay and distinguished themselves in many battles. Sixteen African American soldiers would earn the Medal of Honor.

Unlike the Army, the Navy was integrated before the Civil War. About 20,000 African Americans served aboard U.S Navy ships during the Civil War alongside White sailors.

The exhibits devoted to World War I and II are notably smaller than the Revolutionary and Civil War galleries. They broadly describe the segregated service of African Americans during these wars and the hostile environment to which they often returned.

One of the highlights in the History Galleries is a beautifully restored Stearman Keydet training aircraft used by the Tuskegee Airmen. The two seat bi-plane was the primary pilot training aircraft for the US Armed Forces in the 1930’s and 1940’s. The accompanying display also includes an excellent five minute introductory video on the origins and accomplishments of the Tuskegee Airmen, which was established in 1941 to demonstrate that African Americans could perform the jobs required in the Army Air Forces. The Tuskegee Airmen included pilots, as well as navigators, flight engineers, bombardiers, mechanics and other essential support positions.

A PT-13D Stearman Kaydet training aircraft used to train Tuskegee Airmen

One of the most notable units comprised of Tuskegee Airmen was the 332nd Fighter Group. From their base in Italy, the 332nd escorted heavy bombers on raids into central Europe from May 1944 through April 1945. They flew more than 15,000 sorties, losing but 25 escorted bombers to enemy fire.

In the museum’s Community Gallery on the third floor is an exhibit entitled Double Victory: the African American Military Experience. The gallery takes its name from the Pittsburg Courier’s Double Victory campaign during World War II, which promoted America’s victory over the Axis Powers and an African American victory over discrimination at home.

This exhibit expands on the themes first introduced in the below-ground History Galleries. Here the emphasis goes beyond historical facts of African American military service to how that service changed through the years and its impact on the larger African American community.

A handkerchief with the emblem of the Pittsburgh Courier’s Double Victory campaign.

Also included are more artifacts, such as documents, weapons and equipment. These highlight what military service for African Americans entailed at the time, such as a seaman’s certificate issued in 1826 to a Black sailor named Robert Barnaby. Barnaby carried the certificate with him at all times to prove he was a sailor in the US Navy and avoid being seized as a runaway slave.

This exhibits introduces the accomplishments of some notable African American units such as the 54th Massachusetts, the Buffalo Soldiers, the Harlem Hellfighters, and the Red Ball Express, among others.

President Harry Truman officially ended segregation in the US Armed Forces in 1948, upon signing Executive Order 9981. Change came, but slowly. Racial tension continued in the following decades in parallel with the civil rights movement occurring across American society. However, the integration of the services opened new opportunities for African American service members.

A horse saddle used by B Troop , 9th US Cavalry Regiment (A Buffalo Soldiers Regiment)

The final part of the Double Victory exhibit portrays one of the most important of those opportunities, the long rise of African Americans to senior ranks within the military. Two hundred years after the Battle of Lexington and Concord, Daniel “Chappie” James, a fighter pilot and Tuskegee Airman became the first African American four star general in history.

The exhibit includes Colin Powell’s dress uniform from his tenure as Chairman of the Joint Chiefs of Staff. It denotes the pinnacle of that long rise and attests to what is now possible in the military.

Although they might not have always been treated fairly, military service has long been an important part of African American life. Today, African Americans comprise 17% of the ranks of soldiers, sailors, airmen and Marines and continue a tradition begun over 200 years ago. Through that time, the unique relationship between African Americans and the American military was a rather complex picture. Curators have designed and assembled some revealing exhibits exploring the nuances of those complexities. It is an important collection and well worth seeing for anyone desiring a more complete picture of American military history.

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Route Recon

The Museum is located on the National Mall at Constitution Avenue, NW, between 14th and 15th Streets, Washington, D.C. The street address is 1400 Constitution Avenue, NW, Washington, DC, 20560.

Click here for a map of all the Smithsonian Institute Museums around the National Mall.

The museum is open Tuesdays – Sundays from 10:00 AM until 5:30 PM. On Monday, the museum is open from 12 Noon until 5:30 PM.

Free timed-entry passes are required for entry.

Using public transportation is advised for those visiting the museum.

Metrorail – The closest Metro station is Federal Triangle, along the blue, orange, and silver lines.

Metrobus – Bus stops are located on Constitution Avenue. Visit the Washington Metropolitan Area Transit Authority for more information.

Circulator Bus – The National Mall Circulator Loop bus provides easy access around the National Mall and convenient connections to other Circulator buses for visits to uptown sites.

Mess Call

If your schedule allows, plan for lunch or a snack at the Sweet Home Café, the museum’s restaurant. It features a variety of food items reflective of African American culinary traditions as well as many modern day favorites. The Sweet Home Café is open daily, from 11:00 AM to 3:00 PM with the exception of Mondays (12:00 Noon – 3:00 PM).

What’s Peace Got To Do With It?

December 31, 2023December 31, 2023Posted in Civil WarTagged Admiral David Porter, Capitol Grounds, Carrara Marble, Civil War, David Dixon Porter, David Porter, Franklin Simmons, history, military history, National Mall, Navy Monument, Peace Monument, tourism, travel, united-states, US Capitol, Washington DC, Washington DC travel1 Comment

In a city abundant with statues, monuments and memorials, a few stand out for their uniqueness. One of these sits to the northwest of the US Capitol in the middle of a traffic circle formed where Pennsylvania Avenue terminates at First Street, NW. It is one of three pieces of statuary, along with memorials to Ulysses S. Grant and James Garfield, that form a visual connection between the US Capitol Grounds and the National Mall.

Dedicated to the sailors and Marines who died during the Civil War, the statue is known as the Navy Monument or Peace Monument. Unlike its neighboring statues which feature American statesmen cast in bronze, the Peace Monument mixes a variety of classical figures arrayed around an upright bloc, all captured in Italian marble.

**The Peace Monument from the National Mall**

At the top of the 44 foot high monument are two robed figures facing the National Mall to the west. One is Grief, who buries her head in one hand, while resting her other on the shoulder of History, who stands bearing a pen and scroll inscribed with the words: They died that their country might live.

Midway down the monument, Victory holds her laurel high in her right hand, while a very young Mars (the god of war) and Neptune (the god of the sea) sit at her feet.

On the reverse side of the statue, the figure of Peace looks towards the US Capitol. At her feet are a collection of items symbolic of the benefits of peace. There is a cornucopia and a sickle representing agricultural bounty while a gear and a book represent industry and the pursuit of knowledge.

Four large marble spheres on their own bracket-shaped pedestals are found on the corners of the monument along with classical adornments, such as wreaths, scrolling and scallop shells. Below the monument, jets of water shoot into a giant basin. On the west side an inscription reads: In memory of the Officers, Seamen and Marines of the United States Navy who fell in defence [sic] of the Union and liberty of their country, 1861–1865.

While it looks as if it might have been designed by a committee, the statue was the idea of one man: US Navy Admiral David Porter.

Admiral Porter was the scion of a distinguished naval family. His father, Commodore David Porter, was a hero of the War of 1812 and his adopted brother was David Glasgow Farragut (of “Damn the Torpedos” fame). Admiral Porter first served as a midshipman at age ten under his father. He would serve in the Navy for over sixty years.

Admiral David Dixon Porter

-Photograph by Mathew Brady, Library of Congress Collection

Porter sketched the original figures of Grief and History as early as 1865, then raised money from private sources for its construction. Porter was likely inspired by his father, who undertook a similar project. Commodore Porter commissioned a statue dedicated to the lives of six naval heroes who died fighting the Barbary Pirates in the early 19th century. At one time this statue was displayed near the US Capitol; it was ultimately moved to the US Naval Academy at Annapolis in 1860.

For his monument, Admiral Porter worked with Franklin Simmons, an accomplished sculptor known for his work in sculpting political and historical figures. Simmons carved the statues at his studio in Rome, working with another team of Italian sculptors to carve the monument’s shaft. He consulted frequently with Admiral Porter on including additional figures and embellishments.

After its unveiling, an art critic remarked, “Porter knows more about the high seas than high art.”

While that may well have been true, Porter’s conglomeration of figures and mixed symbology seems quite appropriate for a monument to the U.S. Navy during the Civil War.

Close-up of the Statue of Mars. Note the erosion on the fingers of right hand where he grips his sword, and on nose.

In April of 1861, the Navy had but 42 commissioned ships. It needed to expand quickly and it required many new and different types of vessels for the missions it now faced. Specialized ships were necessary for enforcing President Lincoln’s blockade of Southern ports, defeating the Confederate Navy in open waters, supporting US Army ground operations and patrolling interior rivers. This was also a transitional period as wooden sailing ships gave way to ironclads powered by steam.

The Navy set about a massive program of refitting current naval vessels, building new ones and acquiring civilian ships, which were converted for military use. By war’s end, the Navy had over over 600 vessels, some very distinct in design and purpose.

During the Civil War, the US Navy also rewrote doctrines focusing on flotilla operations rather than single ship actions, adopted new combat tactics, and revised its command structure.

Admiral Porter was on the forefront of some of these developments. He commanded a flotilla of ships in the Union capture of New Orleans. He transported Ulysses S. Grant’s army down the Mississippi River prior to the assault on Vicksburg. He also commanded naval forces in the attack on Fort Fisher, North Carolina. After a two-day long bombardment of the fort, Porter contributed a force of sailors and Marines to join US Army soldiers on a multi-pronged ground attack.

The Bombardment and Capture of Fort Fisher, N.C. Jany. 15th, 1865. [Published by Currier & Ives, between 1865 and 1872] Library of Congress Collection

While historians devote more attention to land campaigns and the Army’s epic battles, the Navy made significant contributions to the Union victory in the Civil War. During those years, 4,523 sailors lost their lives. The Marine Corps played their role as well, participating in some major land battles, enforcing blockades and conducting patrols along the rivers. During the Civil War, 148 Marines were killed in combat.

After his Civil War service, Porter served as the Superintendent of the US Naval Academy where he implemented a number of reforms to better prepare midshipmen to become naval officers. He originally intended the monument to be placed at Annapolis as was his father’s. However, the Secretary of the Navy at the time disagreed.

Congress though did approve of the statue being placed near the Capitol. Funds were appropriated for the construction of the monument’s platform and a basin for the fountain, which were made from Maine blue granite.

The monument was shipped in pieces to Washington in 1876. The next year, the monument was assembled and installed at its current site. The last statue of Peace was added in 1878. A formal dedication ceremony was delayed until the statue was completed. Dolphins were also to be incorporated as were bronze lamps, but these were never added and no formal dedication was ever held.

The Statue of Peace facing the US Capitol.

The statue was built of Italian Carrara marble, which unfortunately has not stood up to the weather or the pollution in Washington, DC. Erosion of the faces on different figures is clearly evident and various features have broken off. For example, the young Neptune is missing his trident.

Additionally, protestors have repeatedly climbed the Peace Monument during demonstrations on the Mall, further damaging the statues. A major restoration effort was made in 1991, where the marble was carefully cleaned, strengthened and missing pieces replaced. Similar work was conducted in 1999 and 2010.

Close up of the Statues of Grief and History. Note the erosion on History’s face and the missing pen from History’s right hand.

It is easy to be dismissive of the Peace Monument as something antiquated–or not related to peace at all–since it memorializes war dead. Indeed, the monument may not work as “high art”. But the monument’s story is compelling and offers some rich analogies to peace worth considering.

Like this monument’s creation, peace may take a long time. Peace might look different from what you expected. Peace may never be complete. Peace is fragile and needs constant tending. Peace may not be heralded with a formal ceremony, yet it exists nonetheless. Peace may flabbergast some, but it can endure.

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Route Recon

The Navy Monument or Peace Monument is located within a traffic circle at the intersection of Pennsylvania Avenue and First Street, NW, to the northwest of the US Capitol building. The best way to get to the monument (and the Capitol) is by taking Metro.

Three Metro stops are within walking distance of the memorial and the Capitol:

Union Station – Located at First Street, NW, and Massachusetts Avenue.
Capitol South – Located at First Street between C and D Streets, SE.
Federal Center, SW – Located at the southwest corner of Third and D Streets, SW.

Additional information on riding Metro, is available at the Washington Metropolitan Area Transit Authority.

The DC Circulator, a public bus system with routes through Washington’s downtown area includes stops near the Memorial. Find more information about Circulator busses at www.dccirculator.com.

There is very little public parking available near the Capitol. The nearest public parking facility is at Union Station, to the north of the Capitol. Very limited metered street parking is found along the Mall to the west of the Capitol.