Presidential Predicament: Developing a Self-Guided Tour at the Adams National Historical Park

By: Kurt Deion

When I first toured the Adams National Historical Park as an eight-year-old in 2003, it never crossed my mind that someday I would have the opportunity to help reshape the visitor experience there. Fifteen years later, that is what I am doing as a project intern.

The John Adams Birthplace Home. A panel-based, self-guided tour here will partially focus on John Adams’s transition from student to attorney and his early romance with Abigail Smith. (Courtesy of Kurt Deion, 2011).
The John Adams Birthplace Home. A panel-based, self-guided tour here will partially focus on John Adams’s transition from student to attorney and his early romance with Abigail Smith. (Courtesy of Kurt Deion, 2011).

Under the auspices of the National Park Service, the Adams National Historical Park maintains several buildings related to the politically-prominent Adams family, which are spread throughout Quincy, Massachusetts. These include the side-by-side saltbox birth homes of John and John Quincy Adams, the second and sixth presidents of the United States. The elder statesman spent his childhood at a plain, wooden structure on his parents’ farm at Penn’s Hill, and in his adulthood he moved to the neighboring house, where his son was born in 1767. This second home was where he established his burgeoning law practice, and where matriarch Abigail Adams raised their children alone when her husband was away supporting the American Revolution.

The John Quincy Adams Birthplace Home. Here, the tour will feature additional aspects of John Adams’ law career and his role in drafting the Massachusetts Constitution. (Courtesy of Kurt Deion, 2011).
The John Quincy Adams Birthplace Home. Here, the tour will feature additional aspects of John Adams’ law career and his role in drafting the Massachusetts Constitution. (Courtesy of Kurt Deion, 2011).

The Adamses uprooted from the Penn’s Hill farm in the 1780s and moved a few miles north to a residence that became known as Peace field. Naturally their belongings followed them, and short of disturbing the interior of the Peace field estate, in modern day the NPS is faced with a dearth of original furnishings to display at the birthplaces. At present, however, the ANHP is in the process of rethinking its historical narrative; in this context, the lack of artifacts at the saltbox homes creates an opportunity to refocus on the lives of the family members, such as John and Abigail. My internship responsibilities include identifying and prioritizing the stories that should be told at the birthplaces, via a self-guided tour.

John Adams. Portrait by Gilbert Stuart.
John Adams. Portrait by Gilbert Stuart.

Before I arrived at the ANHP, my supervisor had already outlined some general areas she wished me to investigate, such as John’s law career and his early romance with Abigail. Yet I was given much freedom within those parameters to prioritize particular stories at the birthplaces. In addition, because the Adamses were prolific writers, I had many primary sources as the foundation for content, for they left behind thousands of documents in the form of letters and diaries. And finally, the ANHP’s draft Visitor Experience Plan outlines their priority to implement the principles of inclusive history, which I learned about in the UMass Boston History MA program. My education at the university has emphasized the need to tell the accounts of groups marginalized by those in positions of power, which in the United States has historically been white Anglo-Saxon Protestant men. In my role at the ANHP, I must determine what stories are important that can also resonate with modern audiences regardless of age, race, and gender.

Abigail Adams. Portrait by Gilbert Stuart.
Abigail Adams. Portrait by Gilbert Stuart.

The correspondence exchanged between John and Abigail during their courtship and early marriage paint a picture of their thoughts as a young couple in 18th century Massachusetts. These letters also provide a good basis for any future research focused on Abigail’s maintenance of the farm in John’s absence, and her personal philosophies. I struggled more with discerning which of John Adams’s court cases to include in the tour. As I read through his annotated legal papers at the Boston Public Library, I found many of the lawsuits to be archaic and inaccessible in the 21st century. Some, however, revealed much about John Adams’s thinking about rights. In King v. Stewart, for example, Adams represented a loyalist whose home was ransacked in part because of his prospects as a Stamp Act collector. Adams also defended the British soldiers implicated in the Boston Massacre. These cases demonstrate Adams’s belief in the right to a fair trial and representation, even for those whose political allegiance differed from his own.

It was very rewarding to find those cases that resonate with current issues and principles of law. In Sewall v. Hancock, John Hancock was tried for smuggling in Admiralty Court, which deprived him of a right to a trial by jury. As his attorney, John Adams argued that British Parliament was depriving American colonists of a right granted to their brethren across the Atlantic. This allowed me to draw a line from John’s experience as an attorney, to his resentment for the British Crown at the dawn of the Revolution, and also to his draft of the Massachusetts Constitution in 1779. When he drafted the document in his law office, it included the right to trial by jury. This and other protections, such as freedom of the press and prohibition of cruel and unusual punishments, were subsequently included in the U.S. Constitution and the Bill of Rights. I hope that the relevance of these documents in Americans’ lives today will help illustrate the importance and influence of John’s legal work.

Keg to Cannon: Adapting Education Programs from the USS Constitution Museum to USS Constitution

By: Genevieve Wallace

I moved to Boston from California two years ago because of a love of old boats and cobblestones (yes, really). Fortuitously, I sat next to Jennifer Zanolli, Manager of Interpretation and Visitor Services at the USS Constitution Museum, during a session at the New England Museum Association (NEMA) conference in November 2016. A year later, I was lucky enough to work with Jennifer as a museum education intern at the USS Constitution Museum.

My primary responsibility was brainstorming educational programs to implement on USS Constitution. The goal was to create a program on the ship itself based on an existing program at the museum. We envisioned this complimentary program as a way to help visitors identify and make connections between the museum program and its context in this historical setting. Since hands-on learning is a hallmark of the USS Constitution Museum, any new program required appropriate and meaningful strategies for audience participation. I faced this new challenge right away, since the precise details, or even the general structure, of this program were unknown at the start of the internship. Previously, the Constitution Museum had not had access to the ship for its educational programs, so my task was unprecedented. However, the format of the program would follow that of existing gallery guides for programs in the museum. This exciting new opportunity became possible through the combination of an amenable commanding officer, and a grant to fund collaboration between the US Navy and the USS Constitution Museum.

150416-N-XP344-048 CHARLESTOWN, Mass. (April 16, 2015) NASA astronaut and U.S. Navy SEAL Capt. Christopher J. Cassidy conducts an all-hands call with the crew of USS Constitution during a visit to the ship. Cassidy’s visit to Charlestown Navy Yard was part of an East Coast tour that included him visiting Boston and New York City public schools, the New England Center for Homeless Veterans, the Boston Museum of Science and the 9/11 Memorial. (U.S. Navy photo by Mass Communication Specialist 3rd Class Victoria Kinney/Released)
“All Hands” call, US Navy on the USS Constitution. Public domain image.

The USS Constitution Museum has won numerous well-deserved awards for their interactive and highly engaging exhibits since they opened in 1972. The museum’s primary focus is USS Constitution and everyone whose lives were touched by the vessel’s construction and commission. It is located next to the ship itself, in the Charlestown Navy Yard. The museum’s mission statement boasts a commitment to scholarship and innovation, as well as providing hands-on experiences that keep the stories of USS Constitution and those associated with her relevant.

Because of the intimidatingly high bar the museum has set for engaging and interactive exhibits, I had the challenge of creating ideas that would be within the realm of possibilities, but also the encouragement to think big. I approached the task by researching and brainstorming programs suitable for the ship, interacting with and observing the different galleries and programs in the Constitution Museum, and attending museum educator meetings.

Genevieve Wallace posing with 1812 Marine reenactors during the USS Constitution Museum’s annual fundraiser. October 18, 2017.  Courtesy of Genevieve Wallace.
Genevieve Wallace posing with 1812 Marine reenactors during the USS Constitution Museum’s annual fundraiser. October 18, 2017. Courtesy of Genevieve Wallace.

I began my research began by exploring programs at other maritime museums to identify possible on-ship program models. This offered limited information, because many ship museums are able to offer sailing tours that Constitution cannot, and the ones that don’t (like the HMS Victory) offer visitors open decks to walk through, but no educational programing. I turned back to our own exhibits and programs in the museum for inspiration, but I still didn’t have a clear idea. It was difficult to decide on which aspect of the ship’s history to focus on, and how to transform that aspect to an engaging experience for visitors on deck. I wanted to explore the possibilities of dreaming big, but I soon learned about the practical limitations of some of my ideas. I have so many details about the sounds and smells of shipboard life from reading maritime literature, that I was especially interested in giving visitors sensory experiences on the ship. How about inviting visitors to dine on a tarp, like the enlisted men would have done, I suggested? As my supervisor, Jennifer gently reminded me of problems with cleanup and containment. Some of my other adventurous ideas—installing a tarp with fake blood, or salt to recreate the grainy texture from scrubbing the deck, or installing speakers in the masts—all presented similar problems.

After talking to Jennifer and hearing her suggestions, I decided to build an activity for the ship based on the existing, Ready? Set, Fire! program in the museum. Ready? Set, Fire! is a program about cannon pressure where visitors build Alka-Seltzer cannons out of film canisters. Once I had made my decision, I knew that gunpowder would be the focal point of my program, and I shifted my research focus to gunpowder and powder passing. Powder passing is the process sailors used to get gunpowder from storage kegs below decks, up to guns on the gun and spar decks. The museum has many resources for information on passing powder on the USS—the responsible crew members, as well as timing and logistics.

The most important historical resource for planning this program was the ship itself. I had an idea that a powder passing activity might be fun, but I needed to see parts of the ship I had never been to in order to in order to imagine the details. Luckily, I had the assistance and a full tour of the ship by Margherita Desy, a civilian employed by the navy as the ship’s historian. I was in a much better position to plan the logistics of this activity after my tour. I had originally wanted to start the powder line in the magazine, however after visiting it I decided that would be a bad idea. For example, the magazine, which is the room where the powder kegs are stored, is tiny! Only two or three people can fit into it at once, and it is difficult to climb down into.

The Constitution Museum emphasizes a culture of collaboration. Once I had completed sufficient research on powder passing, and had a general idea for a powder passing activity between decks, I was able to run this idea by the museum educators in a meeting. I was met with enthusiasm and several good ideas. The collaboration between educators was energizing and inspiring, and left me wanting more collaborative experiences. Working alone in the research room meant that I had to create opportunities for such experiences, but minimize interrupting staff while they worked on their own projects.

By the end of my internship with the USS Constitution Museum I was able to accomplish several of my original goals. I had been interested to learn about the job descriptions for different roles in the museum, in order to get a feel for what I might want to pursue in the museum field after graduation. I had one-on-one meetings with Harriet Slootbeek, Collections and Exhibits Manager; Robert Kiihne, Director of Exhibits; Jodie Smith, Manager of Academic Programs; Jennifer Zanolli, Manager of Interpretation and Visitor Services; Margherita Desy, Historian for USS Constitution; Carl Herzog, Public Historian; and several educators. I asked them about their jobs—their current job descriptions as well as what projects they are currently part of at the museum—and their past work experience. Though I haven’t decided what I would like to do most, I have a better idea of what is possible.

Brainstorming, research, and collaboration in the museum helped me write a gallery guide for a new education program. Although I found my professional education experience useful, I learned to create a new type of lesson plan, and discover the institutional constraints that impact program development. I volunteered at the museum’s biggest annual fundraiser—a silent auction and dinner in the Seaport—and experienced the culmination of months of planning for the ship’s 220th birthday celebration (which included a Constitution shaped cake!).

A Constitution shaped cake to celebrate the 220th birthday celebration for USS Constitution in the Boston Navy Yard. October 21, 2017. Photo by Genevieve Wallace.
A Constitution shaped cake to celebrate the 220th birthday celebration for USS Constitution in the Boston Navy Yard. October 21, 2017. Photo by Genevieve Wallace.

One of my biggest takeaways was how invigorating and inspiring it can be to work with a team of dedicated, and similarly nerdy, professionals who are all invested in the integrity of an institution and its mission. When I was working with a small team and I had people to share and build ideas with I was much happier and more productive than when I was working alone. Throughout the whole process of creating a program, I learned how much work and how many voices go into each final version.

Internship at Historic Newton: Putting Education into Practice

By: Laurie L. Kearney

In September of 2017, I started my Public History internship with Historic Newton as an Education Collection Interpretation Intern. Historic Newton has a very active presence in their city. They were founded in the 1950s and today run two museums, The Jackson Homestead & Museum and the Durant-Kenrick House & Grounds. They also maintain the town’s historic cemeteries, offer many educational programs to their community including programs for adults and school children, and have online programs that include exhibits, historical information and teacher resources. Their mission is to illuminate their city’s history in the context of the nation’s history.

Jackson Homestead, 527 Washington Street, Newton, MA
Jackson Homestead, 527 Washington Street, Newton, MA

Historic Newton is dedicated to providing educational opportunities, not only for Newton residents, but for the broader community via the world wide web. Historic Newton offers many educational programs for school age children, and these programs were the focus of my role as intern. In recent years, Historic Newton has developed a daylong lesson on old burying grounds in conjunction with Newton’s middle school teachers. Their two museum spaces feature multiple exhibits on Newton’s history, including sections on slavery and the Underground Railroad, and the domestic life of a Newton family spanning over a century. Online visitors can find exhibits on the Charles River, Newton artists, penny postcards, and the Underground Railroad. Currently, Historic Newton is writing a new curriculum on immigration and has several new programs in the works for the community.

Capt. Edward Durant House, 286 Waverley Ave, Newton, MA
Capt. Edward Durant House, 286 Waverley Ave, Newton, MA

Over the last thirty years, museum education has become an integral part of exhibit planning. Before the 1960s, museums were spaces where people went to simply look at exhibits. In the 1970s, museums began to be thought of as nontraditional learning spaces (versus a traditional classroom setting) and history museum staff began developing exhibits with learning objectives in mind. As a result, there has been a shift from passive to active learning. Today, when people visit a museum they expect to learn something new from an exhibit, a community program, a walking tour, or an activity; most likely, a museum educator had a hand in its development. Museum educators are a vital component of a well-staffed museum. They are specialists who assist institutions in achieving their educational goals.

Museum educators may work with a variety of people, whether they are in-house professionals, community residents, or local public school teachers, to develop programs that are both engaging and informative. Working with teachers on developing curriculums, results in lessons that are meaningful to students, respond to the curriculum, and that teachers are eager to teach. This kind of collaboration creates ownership for the project, which helps the community value the exhibit or program. Through collaboration and exhibit design, museum educators create meaningful programs, lessons, and exhibits for their participants.

Please Touch table
One of my responsibilities as an intern was to create a “please touch” table for our museum visitors.

As the Education Collection Interpretation Intern, it was my turn to put these ideas and theories into practice. My responsibilities included updating the existing program “If You Lived in the Jackson Homestead” to make it more participatory for young audiences; creating a new exhibit for the “Please Touch” table in the Historic Newton Gallery; and researching items in their education collection for further use in Historic Newton’s educational programs. My goal was to create hands-on activities that allow young children to encounter the past in meaningful ways and engage them in age-appropriate historical thinking.

The “If You Lived at the Jackson Homestead” program is one of Historic Newton’s much loved and older programs, but both staff and visiting teachers identified the need to make it less lecture-based and more participatory for its young audiences. Feedback from teachers indicated a need for more resources for use in their classrooms to support this program. My initial observation of this hour-long lesson for children ages 4 to7 revealed the need for a new approach – these young children spent 30 minutes listening to the presenter deliver information before they had an opportunity to participate in a hands-on activity. My challenge was to figure out how to incorporate participatory elements into the 30-minute information-based session, to make it fun and meaningful for the children. I came up with several ideas then refined them with the help of Newton Public School teachers and Historic Newton staff. In addition, I revised objectives, artifacts, instructions, and follow-up for the existing artifact-handling activity, devising a game that allows children to practice comparing past and present through images of objects of the past and their versions in the present. This new approach to the activity and the other additions to this lesson added a strong participatory component, which better engaged the children.

Wheels, Genealogy, and Baby Hair: An Internship with the PEM Library

By: Rachel Sherman

“To celebrate outstanding artistic and cultural creativity by collecting, stewarding, and interpreting objects of art and culture in ways that increase knowledge, enrich the spirit, engage the mind, and stimulate the senses” This passage is the first sentence of the mission statement for the Peabody Essex Museum (PEM), an internationally recognized art and cultural museum located just north of Boston, Massachusetts.

As a student of public history also pursuing an archives certificate, I knew from the start that I needed multiple internships to gain the professional experience. As a resident and lover of the North Shore area (the cities north of Boston, mostly in Essex County), I wanted to bring my skills in helping cultivate the history of my home. All of this cumulated into an internship at the Phillips Library, part of the Peabody Essex Museum (PEM).

The Phillips Library at the Peabody Essex Museum, Salem, MA
The Phillips Library at the Peabody Essex Museum, Salem, MA

Known as the PEM Library or the Phillips Library, this archive stores the millions of manuscripts donated throughout the twentieth and twenty-first century to promote the understanding of the culture of the North Shore and its community members. The archival collections vary from maritime shipping logs, business logs, unpublished books, maps of the New World before the establishment of the United States, and so much more.

Under the supervision of the head archivist for the Phillips Library, Tamara Gaydos, I got to get my hands dirty (not literally!) and process three collections, as well as write brand new finding aids for the collections: the Archibald Wheel Company Records and Edward A. Archibald Papers, the Martha Jane (Weston) Averill Collection, and the Almy, Butler, and Robson Papers.

Each collection varied in multiple regards: size, material, historical period, and level of necessary processing, to name a few. Each collection also brought new challenges I never faced before, and after all the new folders went into their new boxes and placed amongst the thousands of other archival collections, I left having learned more than I predicted before my first day.

The Archibald Wheel Company Records and Edward A. Archibald Papers was my first collection, and the easiest. The collection consists of business papers relating to the Archibald Wheel Company, a wheel manufacturer active between 1867 and 1910, and its founder, Edward A. Archibald, a Canadian immigrant who immigrated to Boston in 1852, started his wheel company in the late 1860s, patented a machine for creating a new wheel, the iron-hubbed wheel, and successfully served clientele across the United States until his death.

The Martha Jane (Weston) Averill Collection was my second collection and my first actual challenge. The collection consists of extensive genealogical research on multiple New England families conducted by Martha Jane (Weston) Averill (1838-1908), a Middleton woman, over the course of her life. These families include both local families, such as the Curtis, Putnam, and Wilkins families, and her own familial connections, such as the Averill, Gould, and Weston families. The documents collected by Martha on these families include legal documents, bills, receipts, accounts, family trees, and correspondence.

Unopened envelopes.
The Almy, Butler, and Robson Collection contained hundreds of unopened envelopes. Each had to be opened and examined over the course of processing.

The Almy, Butler, and Robson Collection, my third collection, proved to be the greatest challenge yet because, besides previous research conducted by Tamara, there was little to no processing done in this collection; no one knew what was inside the hundreds of unopened envelopes (which I had the pleasure of opening!) The collection consists of documents pertaining to various members of the Almy, Butler, and Robson families, members of the founding family of the Almy Department Store (Salem, Massachusetts), and all of whom were related by blood or marriage. The collection consists predominantly of personal correspondence between family members and close friends; however, the collection also contains photographs, ephemera from travels, cards, drawings, shipping papers, writing samples both written by and about family members, court papers, tax records, and even baby hair! The collection contains documents in English, French, and German. Also accompanying the collection is a family tree to better understand the family.

A lock of baby hair found in the Almy, Butler, and Robson Collection.
A lock of baby hair found in the Almy, Butler, and Robson Collection.

Although these three collections by themselves do not change the course of history, they do stand their own ground as gateways into the lives of those who once lived in the communities some call home. The Archibald Wheel Company presents the story of an immigrant who lived the American dream of success. Martha Jane Averill set out to understand her family and her community’s story. The Almys, Butlers, and Robsons kept hold their familial correspondence, pictures, and papers to treasure their relationships. Altogether,  these collections present various histories and stories that can be appreciated by a broad constituency of researchers and members of the public.

As an institution of knowledge, preservation of history, and the enrichment of the community, the Phillips Library holds itself to a standard of safe holding and presenting the tantalizing stories of those who once shared the same land as our present communities. To maintain community relations and to allow further accessibility, the Phillips Library digitizes its collections for all to treasure, and this includes the previously mentioned collections processed over the summer.

During the summer, while I sat in the corner processing these valuable collections, the Phillips Library staff secretly prepared for their journey to a permanent home for the archival collections. Only recently did the news break out that despite previous promises made to return the PEM Library back to Salem, Massachusetts, the Phillips Library instead planned to house its archives in Rowley, Massachusetts. This news shocked those who eagerly awaited the day that, after six years of housing in Peabody, the Phillips Library would return to its ancestral home in Salem.  Instead, the building would become office space, as the collection moved to a new location in another town.

Angered Salemites gathered in the snow to protest. Some created and signed petitions to “Preserve the Phillips Library.” Thousands wait to see what will happen to both the beloved Phillips Library and the PEM Library collections. Yet, regardless of what happens, the issues that the PEM staff face now are part of the archives profession. Archivists must be flexible enough to carry out their work despite resource constraints and sweeping institutional decisions. As long as the wheels keep turning, community members keep researching, and families continue to preserve their stories, history will move forward.


Postscript: The Phillips Library has released a statement about its move. You can read it here.

Branding Lowell: Collaboration, Material Culture, and Community Identity at the Lowell National Historical Park

By: Sarah K. Black

Streetcar, Lowell National Historical Park (photo by David Wilson, Oak Park, IL)

I spent my fall 2018 semester working as a curatorial intern directly under Laurel Racine, Chief of Cultural Resources at Lowell National Historical Park (LNHP). Maintained and operated by the National Park Service and spanning a full 142-acres, the park “interprets and preserves significant historical and cultural resources from the 19th-century American Industrial Revolution.” More than just a conglomerate of former mill buildings, and a locks and canal system, the Park is a hub for education and a major player in Lowell’s evolving cultural landscape and economic revitalization.

I came to LNHP in search of experience in exhibit planning and execution. I also wanted to gain a general understanding of daily museum operations since I had never worked in a cultural institution. Knowing this, Laurel brought me in to assist two volunteers who were in the beginning stages of developing a temporary exhibit. Branding Lowell: A History of Local Design was the brainchild of Mark Van Der Hyde, a graphic designer by trade and an extremely enthusiastic and dedicated volunteer. Combining his love for both logos and Lowell, he envisioned an exhibit that centered on how the city, as well as its local businesses and organizations, have designed their own symbols and how this imagery has reflected Lowell’s collective and evolving identity since its founding.

I knew that I would walk away with more experience than I had going in, but I never expected my internship to be as valuable as it was. Not only did I grow and improve my skillset in several areas including exhibitions, collections management, and museum operations, but the opportunity also offered me a chance to prove to myself that I can step outside academia and into the public sphere of the historical discipline.

Mark had conceived of a panel exhibit with the help of Tony Sampas, Senior Digital Documentation and Records Management Specialist for UMass Lowell’s O’Leary Library— and a fellow logo enthusiast. My task—shifting the two-dimensional exhibit into a three-dimensional one—required me to research, select, and interpret artifacts to create a storyline. I spent many long hours searching through the park’s databases and experimenting with storyboards, all the while trying to find objects that both fit Mark’s narrative and illumniated stories that did not appear in the panel text. But the artifacts themselves are undeniably crucial in this history.  Early sketches of the logos reveal the process of branding. Branded goods and memorabilia evidenced how these symbols were disseminated to and absorbed by consumers. Taken together, these themes demonstrate just how pervasive symbolism and branding is throughout our culture.

Early mock-up of UMass Lowell’s hockey team logo. Including sketches from the artists offers audiences a glimpse into the process behind forming a logo. Circa 1994. (On loan to LNHP from artist Brian Trainor; photograph by author)
Early mock-up of UMass Lowell’s hockey team logo. Including sketches from the artists offers audiences a glimpse into the process behind forming a logo. Circa 1994. (On loan to LNHP from artist Brian Trainor; photograph by author)

After just a few weeks on the job, I realized just how dynamic and unpredictable building an exhibit can be. With each team meeting, Branding Lowell grew in both content and thematic scope, and with it, so did my responsibilities. Hoping to put my training in public history theory and practice to good use, I volunteered to explore new content, draft panels, and introduce interactive components. Although these additional tasks certainly opened the door to practical experience in interpretation and exhibit planning, I found the collaborative component of the project to be the most valuable. Each member of our four-person team brought something unique to the table, be it curatorial experience, graphic design skills, or an extensive knowledge of the history of Lowell. Our exhibit team meetings were opportunities to share progress and problems; they were honest and productive sessions where we brainstormed, proposed solutions, and compromised. Collaborations, especially when they involve community members, are never a guaranteed success, so I am tremendously grateful to have worked alongside professionals who were both eager to share ideas and open to constructive criticism. In the end, our unique perspectives and expertise combined to ensure Branding Lowell is as content-rich, aesthetically pleasing, and engaging as possible.

Branding Lowell will open on March 24, 2018 and although my formal internship has concluded, I intend to see the project through to its completion. We still have a great deal to do, including case layouts and object mounts, text editing, and installation. I look forward to increasing my skillset even further.

Ferrin & Parker "Boots and Shoes" nineteenth century business card
The Branding Lowell exhibit will feature an array of nineteenth-century business cards. This one is from 1890. (LNHP collection; photograph by author)

The internship requirement for the public history program had haunted me since the evening I received my acceptance letter. I came into the program with no experience in a museum (or even a comparable institution), and feared that my lack of experience in the field would ultimately cast me as the inexperienced underdog in both academic and professional networks.  But this is exactly why our time as interns is so essential. No matter how little or how much experience a student has, there are always new skills to learn, most of which have to develop outside of the classroom.  I was fortunate to be mentored by a museum professional with tremendous experience in the field and a desire to create a positive and productive environment. Laurel not only took me under her wing to teach me about collections management and museum operations, but she also granted me a great deal of freedom with the exhibit content and development. At the end of the day, I will leave my internship with something even more valuable than an improved skill set: the knowledge that I left my mark on a truly dynamic and collaborative project, one that tells the story of a city’s identity in a unique and interesting way. As an aspiring public historian, I can think of no place better suited for professional and personal growth than the Lowell National Historical Park.