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Carte de visite by J.H. Van Stavoren of Nashville, Tenn. During the early part of the fighting in the Atlanta Campaign, captured Confederates marveled at the strange rifles used against them. “Some of the rebel prisoners with an air of curiosity worthy of a Yank inquire where our boys get these guns which they load on a Sunday and fire all the week,” noted a Chicago Tribune correspondent who traveled with Maj. Gen. William T. Sherman’s army in a report on June 6, 1864, from Acworth, Ga.
The bewildered Confederates referred to the Henry Repeating Rifle, an innovative .44-caliber rimfire breech-loading, lever-action weapon featuring a 15-round magazine patented by gunsmith Benjamin Tyler Henry (life dates 1821-1898) in 1860 on the eve of the Civil War. The vast majority of these 16-shot rifles were privately purchased by Union soldiers, and they were expensive. Those who could afford them enjoyed a distinctive advantage. According to 1864 newspaper reports and advertisements, a soldier armed with a Henry could squeeze off 30 shots per minute, equal to ten troopers with standard muskets.
The Henry received a glowing review in a St. Louis newspaper in late 1861: “This new gun is now under inspection by the War Department, and is pronounced by officers high in position, and by experienced sharp shooters, to be the plus ultra in this department of invention—the best rifle in existence. Its magazine contains fifteen of the improved cartridges and its range is both effective and accurate at a distance of one thousand yards. The whole piece is an example of beauty, symmetry and strength combined.”
Before long, these beautiful, symmetric, strong arms became legendary. Numerous reports of their effectiveness appeared in newspapers, including this in the September 15, 1862, issue of the Louisville Courier-Journal, titled:
A BRILLIANT AFFAIR — SPLENDID TRIUMPH OF THE HENRY RIFLE.
Two or three days ago, as we learn by a gentleman from Owensboro, three loyal men near that place, armed with Henry rifles, had a conflict with forty well-armed guerillas and soon put them to a very hasty flight. The three gentlemen were at breakfast when the guerillas surrounded them and demanded their surrender, but the brave fellows refused, and, bringing their terrible weapons into quick and effective play, they at once cleared the field of their enemies.
This was a brilliant triumph alike of heroism and Henry rifles. The rebels will very soon learn to be as much afraid of these rifles as ever they have been of gunboats. We would gladly put a single company, armed with them, against the best regiment of rebels whether infantry or cavalry. Even an individual, with one of them upon his shoulder or by his side, can march with a sense of considerable security through places infested with rebels if he but guards against being shot from behind a covert.
Reports like this one made the Henry one of the most-sought after weapons by soldiers. Only a small number were made—less than 14,000 between 1860 and 1866, according to one report. If one were fortunate enough to get one, more power to them!
This brings us to the officer picture here—one of the lucky owners who purchased his own Henry. He is Capt. Allen Lewis Fahnestock (1828–1920), a peacetime grocer in Glasford, Ill. In the summer of 1862, at age 34, he helped organized Company I of the of the 86th Illinois Infantry from Glasford and vicinity. Over the next three years, the regiment participated in the Georgia and Carolina Campaigns. A prolific diarist, his journal can be found in the Abraham Lincoln Presidential Library, and other recollections published in newspapers have been often quoted over the las century.
The writings Fahnestock left behind fill enable students of the Civil War to piece together details about how he came to pose with the Henry in this portrait.
Fahnestock recalled he purchased the rifle in Nashville, noting it was one of the first two for sale in the city, where the 86th spent time between November 1862 and August 1863. The purchaser of the first rifle was Maj. Dan McCook Sr., one of two brothers who, with 13 of their sons, became known as the “Fighting McCooks.” A portrait of McCook published on Wikipedia (en.wikipedia.org/wiki/Daniel_McCook) pictures him with a Henry—very possibly the first Henry in Nashville. The elder McCook suffered a mortal wound during the Battle of Buffington Island, Ohio, where Union forces ended the raid of Brig. Gen. John Hunt Morgan.
Fahnestock reported that the elder McCook tipped him off about the existence of the second rifle, which he then purchased. This is likely the Henry that Fahnestock posed with in this portrait taken in the Nashville photograph gallery of Joseph H. Van Stavoren. The presence of the Henry speaks to the prestige of these rifles and Fahnestock's ability to acquire one of them. There can be no question that Fahnestock wants us to see his Henry, and the presence of a very large Stars and Stripes covering a table or half-column tells us he used it in defense of the United States and the Constitution.
To this end, Fahnestock mentions using his Henry during the Battle of Chickamauga. The month leading up to the fight had tested the endurance of the 86th. Exhausted in body and mind from long marches and encounters with guerrilla bands, the regiment had little time to rest when heavy skirmishing began on Sept. 17, 1863. Two days later, on the skirmish line, Capt. Fahnestock encountered two rebels who shouted, “Surrender, you Yankee son of a bitch.” Fahnestock recorded what happened next in his journal: “I did not appreciate such language. I leveled my Henry Rifle 16-shooter and shot both of them.”
Less than a year later, during the Atlanta Campaign’s Battle of Kennesaw Mountain, Fahnestock—now the lieutenant colonel of the 86th—lent his Henry to Alason Pitts Webber, the regiment’s principal musician, or fife major. Fahnestock recalled that Webber “fired 100 rounds at twenty-seven paces where he could see the enemy by the hundreds and saved many of the brave boys who lay wounded under the rebel works, giving them a chance to crawl back to our lines.” Webber later received the Medal of Honor for his gallantry.
Fahnestock purchased a second Henry and gave it to Webber, possibly in part to get his rifle back. Webber’s new Henry includes a plate inscribed: “Presented to A. P. Webber, Fife Major 86th Ill. Inf. by Lt. Col. A. L. Fahnestock for ‘Bravery in many Battles’ June 1864.”
The two Henrys survive today and are documented with other artifacts, thanks to efforts by Baxter B. Fite III on Fahnestock’s Find a Grave page: www.findagrave.com/memorial/48046797/allen_lewis-fahnesto...
Henrys continued to be in use after the war, notably by Sioux and Cheyenne warriors in the 1876 Battle of the Little Bighorn, which annihilated five of seven companies of the 7th U.S. Cavalry, including its commander, Lt. Col. George Armstrong Custer.
I encourage you to use this image for educational purposes only. However, please ask for permission.
Taken in 2016.
Josiah McElheny's mirrored Endlessly Repeating Twentieth-Century Modernism at the Museum of Fine Arts in Boston.
Looking for repeating structure in 5 years of traffic fatality data, this visual plots the relative likeliness of these incidents through slices of time and also geographically.
The data are available here: www.nhtsa.gov/FARS
More on this visualization and others: uxblog.idvsolutions.com/
The word is about, there's something evolving,
whatever may come, the world keeps revolving
They say the next big thing is here,
that the revolution's near,
but to me it seems quite clear
that it's all just a little bit of history repeating
The newspapers shout a new style is growing,
but it don't know if it's coming or going,
there is fashion, there is fad
some is good, some is bad
and the joke is rather sad,
that its all just a little bit of history repeating
.. and I've seen it before
.. and I'll see it again
.. yes I've seen it before
.. just little bits of history repeating
Some people don't dance, if they don't know who's singing,
why ask your head, it's your hips that are swinging
life's for us to enjoy
woman, man, girl and boy,
feel the pain, feel the joy
aside set the little bits of history repeating
.. just little bits of history repeating
.. and I've seen it before
.. and I'll see it again
.. yes I've seen it before
.. just little bits of history repeating
[Propellerheads & Mrs Shirley Bassey]
Strobist:
285HV overhead through umbrella. 1/4
285HV camera left bare 10 feet away. 1/16
reflector in front of me camera left.
Taken from Monas at the event of the celebration of Indonesia Army. Some people rather to dress up and the history repeating again.
***Thank you for your visits and comments :)
"Let me out so I can come back in again!" Over and over and over, until she accepts that the snow is here to stay.
ODC-Repeating Numbers
I was rummaging through one of the dressers upstairs and came across this. This fake million dollar bill was printed in 2000...another repetition of zeros! This is John Sparrow Thompson the 5th Canadian Prime Minister. I wonder what Thompson would think about his name being on FAKE money! en.wikipedia.org/wiki/5th_Canadian_Ministry
"Endlessly Repeating 20th Century Modern" created 2007
by glass artist Josiah McElheny
Seen in the lobby of the Museum of Fine Arts in Boston. One of four sides of the piece. More of these images to come as I have time to process them. Every person in the museum with a camera was fixated on this artwork. With good cause.
Repeating lines across this little metal "flag" that sits in our garden in the sunshine!
Flickr Lounge - Weekly Theme (Week 39) ~ Repetition ....
Thanks to everyone who views this photo, adds a note, leaves a comment and of course BIG thanks to anyone who chooses to favourite my photo .... thanks to you all.
Clars auction house
Naomi Lindstrom: Worldwide Beads & Tribal Art
August 14, 2025
At first glance, this mola appears to be a purely geometric grid of spirals and diamonds. On closer inspection, the shapes suggest stylized crabs: the spirals recalling curved claws or tucked legs, the diamonds serving as their central bodies. Arranged in a regular lattice, the crabs face in alternating orientations, creating a sense of movement across the surface. Marine life is a natural source of imagery for Guna artists, whose island environment in Guna Yala is rich in crab species. The symmetry, precision cutting, and harmonious color sequence show the hand of an experienced maker working in a period when molas were still integral to daily wear.
Collectors and textile scholars often note that earlier molas tend to be finer and more elaborate than those made later, especially after the mid-to-late 20th century when molas began to be produced more for sale to outsiders than for daily wear. Older examples usually show:
More complex, tightly layered designs with multiple color bands.
Extremely small, even hand stitches and crisply turned appliqué edges.
Dense use of space with few large unfilled areas.
Balanced color relationships chosen for impact when worn.
By the late 20th century, market demand and the availability of inexpensive tourist molas encouraged quicker production, resulting in simpler designs, fewer color layers, and less meticulous sewing.
The Naomi Lindstrom examples shown here, with their multiple fabric layers, crisp color separations, and intricate compositions, are consistent with molas made for personal wear between roughly the 1940s and 1970s, when the tradition was still rooted in women making blouses for themselves rather than primarily for sale. While precise dating without provenance is difficult, the level of craftsmanship and the visual density place them firmly among the higher-quality, mid-20th-century period pieces that collectors prize.
The Guna (formerly spelled Kuna or Cuna) are an Indigenous people of the Caribbean coast of Panama and parts of northern Colombia. In 2010, the Guna General Congress adopted the spelling “Guna” to reflect their own pronunciation and to standardize the written form of their language. The Panamanian government officially recognized the change the following year. The Guna homeland, known as Guna Yala (“Land of the Guna”), is an autonomous territory encompassing a narrow strip of mainland rainforest and over 300 islands of the San Blas archipelago.
The mola is the most distinctive element of Guna women’s traditional dress. A mola is a rectangular panel of reverse-appliqué textile art sewn into the front or back of a blouse, typically with two panels—front and back—that match or closely echo one another. Molas are made by layering several pieces of brightly colored cotton cloth, then cutting through the layers to reveal contrasting colors beneath. The cut edges are turned under and sewn with tiny, even stitches, often with additional embroidery or appliqué to add detail.
The cottons used today are usually commercially woven and dyed, most often sourced through trade from Panama City or Colombia; in earlier decades, cloth reached the islands by coastal trading boats from Colombia, and some Guna women still remember those as their main source for vibrant yardage.
Molas serve both as daily adornment and as a potent marker of Guna identity. The imagery can range from purely abstract, to stylized plants and animals, to Christian or political motifs, reflecting both traditional cosmology and engagement with the wider world. Making and wearing molas is a skill passed from mother to daughter, and the quality of a woman’s molas is a source of personal pride. In the modern era, molas are also made for sale, providing an important source of income, but the finest examples—like those in Naomi Lindstrom’s collection—were created for personal wear, with intricate designs and meticulous craftsmanship that reflect the height of the tradition.
This text is a collaboration with Chat GPT
Finding the repeating patterns. A different way to look at a building's facade. Found along Main Street in Houston.
Sketch experiment with my corroded copper repeating texture where I have also utilised the fog tool to create a blurred focal point.
Same subject transplanted into different locations in the same abandoned house ...
Made for a new group called Repeating Myself. The group is meant for photos you have had in explore (subsequently dropped ok) that are similar in some way.
It was a nice sunrise this morning, if only for a moment. I like shooting sunrises over the antennas at the repeating station.
Paigah Tombs, Hyderabad, Telangana, India
Paigah Tombs or Maqhbara Shams al-Umara, are the tombs belonging to the nobility of Paigah family, who were fierce loyalists of the Nizams, served as statespeople, philanthropists and generals under and alongside them. The Paigah tombs are among the major wonders of Hyderabad State which known for their architectural excellence as shown in their laid mosaic tiles and craftsmanship work. The Paigah's necropolis is located in a quiet neighbourhood 4 km southeast of Charminar Hyderabad, at Pisal banda suburb., down a small lane across from Owasi Hospital near Santosh Nagar. These tombs are made out of lime and mortar with beautiful inlaid marble carvings. These tombs are 200 years old which represent the final resting places of several generations of the Paigah Nobles.
At first, Paigah Tombs may look deserted and totally uncared for, but on a closer look you will find the place quite enthralling. With marvelous carvings and motifs in floral designs and inlaid mosaic tile-works, the tombs are exquisite to walk around. The tombs and their walls are delicately carved and enclosed in pierced marble facades, some of them in rows and some with beautifully carved screens and canopies.