Remembering enslaved ancestors purchased by Pedro Pellot, Aguadilla, 1822

Margarita, death record Aguadilla, 1837

This post, based on transcriptions of a notary document from Aguadilla, speaks the names of several enslaved ancestors held in Aguadilla by Pedro Pellot. Pellot, one of four Peugeot siblings from Fuenterrabia (Hondarribia in Basque), Gipuzkoa, in the Basque Country of the Atlantic Pyrenees in Spain. The siblings arrived in Puerto Rico in 1804.[1]

By 1810, Pellot became a partner in the company of d. Pedro Abadia (Pedro Manuel Abadia Valencia ca 1727-1828) and d. Martin Lorenzo de Acevedo y Hernandez (1749-1828; also my 4th GGF). Pellot first administered, then purchased Abadia’s hacienda in Barrio Aceituna and expanded it, acquiring some 105 souls to work the coffee plantation by 1847.

While Hacienda Yruena, was among the three largest haciendas in Aceitunas, Pellot held the largest number of enslaved people in the municipality. He sold the property to its administrator, Juan Labadie Larre. The big house was rebuilt in 1903, and today is known as Hacienda Labadie. [2]

Hacienda Labadie, Moca, PR. E. Fernandez-Sacco, 2007. This version of the house was built in 1903.

Margarita

At the end of December 1822, d. Pedro Pellot purchased Margarita (bca. 1806), a young 16 year old woman, born in Guinea from Da. Maria Lucia Domenech Arze (1792-1832). [3] Maria Lucia also came from a family of enslavers, as at least one enslaved person held by her father d. Jose Domenech, appears in the first Libro de Defunciones for Aguadilla.[4]

Maria Lucia Domenech was the wife of d. Francisco Rabasa Dalmaso, a Catalan who settled in Aguadilla and whom she married three years earlier. Rabasa was also involved in buying and selling humans in the 1820s. Domenech made the sale on the basis of her rights under marriage to conduct business, and eventually, Margarita became the property of Pedro Pellot.

We come to know of Margarita’s life in Puerto Rico as part of a series of transactions. How accurate was the recording of her age? How many Margaritas were there on the Pellot plantation? This is an issue one faces when researching enslaved ancestors, as the focus on familial details is reserved for the enslaver, while personal details are used to maintain the status of the enslaved as property, and later in the century, after 1868, they became citizens incrementally.

Searching for Margarita

Acta entierro, “Margarita esclava de Dn. Fran.co Rabasa de diez y nueve anos de edad” 15 December 1837, APSCB Libro 6 F115 No, 2589

In Libro 6, F115 #2589 of entierros for San Carlos de la Aguadilla is a record for another Margarita, born about 1818.  On 19 December 1837, she was buried at the age of 19 years. According to the entry she was also enslaved by d. Francisco Rabasa. As the Margarita (b.ca 1806) from the 1822 sale does not appear among the cedulas of 1868-70 in Caja 4 of the Registro de Esclavos. Margarita either managed to buy her freedom, was sold away or died. The difference in age, together with the children born after 1837 suggests that Margarita survived, unless the children belonged to a different Margarita.

Other persons enslaved by Rabasa were born in Africa, such as Maria who died in 1828 (without noting her age or any other details), and Juana Rita 28, who died in 1843.  The 1826 Relacion de Esclavos de Aguadilla has a list of enslaved people held by d. Francisco Rabasa. At the top of the second column appears yet another Margarita, age 11 bca. 1815.

Enslaved persons held by Francisco Rabasa, Resumen de Esclavos, Aguadilla, Caja 62, 1826 AGPR
Caja 62, Relacion de Esclavos, d. Francisco Rabasa, 1826. AGPR

Another Set of Sales: Four Boys, Aguadilla, 1822

Four boys trade hands in Aguadilla in March 1822. While we have the record for Pellot’s purchase, there are another set of entries that offer the outlines of trafficking in small numbers of those enslaved. 

In March 1822, Pellot purchased four enslaved children born in Coro, Venezuela from D. Jose Antonio Vidal and D. Carlos Espinet. The boys were between the ages of 10 and 14, and worked as house servants. A host of questions come up– where were their mother or parents?  Were they separated earlier? When did they gain their freedom? Did they ever and when? What surname did they take on? Over how many continents did their origin reach? They are:

José Eduviges de 14 años, b, 1808

José Perfecto de 10 años, b.1812

Francisco de la Yuga de 11 años b.1811

José Manuel de 10 años b. 1812 [4]

As the century wore on, there was a growing preference for purchasing children, with the expectation of a longer term of labor. [5] According to the entry, they were first sold as a group for 725 pesos by Nicolas Franson (b. Genoa, Italy) to Jose Antonio Vidal and Carlos Espinet.  The price that Pellot paid is not recorded in their resale on the 23 March 1822. [6] Franson was a captain, specifically of the ship Monserrate, ‘goleta espanola’, a two masted schooner, that suggests he was also capable of transporting the enslaved. I am left with questions and the hope of finding something more.

Capitania del Puerto, Gazette de Puerto Rico, Apr 29, 1837
Capitania del Puerto, – “25 Abril 1837, De la Aguadilla goleta española Monserrate, su capitán d. Nicolas Franson” Gazette de Puerto Rico, Apr 29, 1837. Library of Congress.

The witnesses to the sale were D.Francisco Rabasa, D.Juan Bautista Doumeng and D.Jose Joaquín Miranda, all local plantation owners and enslavers. These documents show the small scale of human trafficking among married couples, emigres who shared French or Basque origins and local partnerships. By 1850, more formal businesses were involved. 

Trafficking from Coro to Aguadilla, 1822

Here are all of the enslaved persons from Coro who were trafficked in Aguadilla for the year of 1822

Chart- Caja 1291 Enslaved from Coro Venezuela
Chart listing enslaved from Coro, Venezulela to NWPR, Caja 1291, Aguadilla.

References

[1] Ellen Fernandez-Sacco, “Reconstructing District 3’s Missing 1872 Registro Central de Esclavos for Northwest Puerto Rico.” [Part 1 of 4] Hereditas 2019, 73. Antonio Nieves Méndez, Historia de un pueblo: Moca 1772-2000. Ediciones Aymaco, lulu.com 2008, 247.

[2] Nieves Mendez,  Historia de un pueblo: Moca 1772-2000., 247.

[3] Caja 1291 En Aguadilla 3-22-1822 fol 128 ante mi,el escribano Real y público y testigos que se nominaran compareció  D.Nicolás Franson de este vecindario y dijo que da en venta Real a D.José Antonio Vidal y a Carlos Espinet de la propia vecindad 4 esclavos de su propiedad nombrados José Eduviges de 14 años, José Perfecto de 10 años, Francisco de la Yuga 11 años y José Manuel de 10 años naturales del Coro y se los vende por la suma de 725 pesos. Testigos y vecinos lo fueron D.Francisco Rabasa, D.Juan Bautista Doumeng y D.José Joaquín Miranda.  Instituto de Cultura Puertorriquena, AGPR, Fondo de Protocolo Notariales, Caja 1291, Serie- Aguadilla, Pueblo- Aguadilla, Escribano Jesualdo Gaya 1821-1822. Transcrito por Carlos Encarnacion Navarro.     

[4] Caja 1291 f370v-372, 31 Dec 1822; f131v – 132v, 23 March 1822

[5] According to Perez Vega, when the port of Ponce was opened in 1812, the port facilitated the direct arrival of free and enslaved people. For more on the traffic in children see Ivette Perez Vega’s “El trafico de ninos esclavos en el sur de PR, Ponce (1815-1830).” https://publications.iai.spk-berlin.de/servlets/MCRFileNodeServlet/Document_derivate_00001299/BIA_103_025_049.pdf

[6] Caja 1291, En Aguadilla 3-23-1822  fol.131-v a 132-v  ante mi, escribano Real y público y testigos que se nominaran comparecieron D. José Antonio Vidal y D. Carlos Espinet de este vecindario y dijeron que daban en venta Real a D.Pedro Pellot del mismo vecindario  4 siervos esclavos nombrados José Eduviges de   14 años, José Perfecto de 10 años, Francisco de la Yuga de 11 años y José Manuel de 10 años todos naturales del coro. Testigos y vecinos lo fueron D.Francisco Rabasa, D.Juan Bautista Doumeng y D.Jose Joaquín Miranda.

Citation: Ellen Fernandez-Sacco, “Remembering enslaved ancestors purchased by Pedro Pellot, Aguadilla, 1822.” Latino Genealogy and Beyond, 9 Nov 2024.

AAHGS Journal’s Author’s Forum: 19 September 2024

2024 Sept - AAHGS Journal Author's Forum

Tonight i’m happy to share that ‘ll be participating in the AAHGS Journal’s Author Forum– with Kevin McGruder, Myrtle Thierry Palmer and Guy Weston, from 7-9PM this evening. The event recording will be available later for members to view in case you can’t make the live event.

I’ll provide an overview of “Searching for Lorenzo Ubiles, Alcalde de Barrio, Humacao, 1873” based on my previous Ubiles blogpost. Delighted at the geographic spread that each of us covers, from Louisiana to Philadelphia to New Jersey and Puerto Rico.

Genealogy Foundations: Tips and Strategies for Beginning Your African American Genealogy Journey

Genealogy Foundations flyer

Today, Saturday, 20 July 2004, I’ll be participating on a panel & talking about Puerto Rico with host Brian Sheffey, Dr. Shelley Murphy and Renate Yarborough-Sanders to share insights on getting started on your African American Genealogy Journey, thanks to the Center for Family History at the IAAM, the International African American Museum!

The event will be live-streamed at 1PM on Facebook and recorded to YouTube.

You can watch the recorded event below:

Restoring the Legacy of Moses Williams: A Case Study of Emancipation

AAHGS 45th National Conference banner

Thrilled to announce that my presentation proposal, “Not Yet Completely Free: Gradual Emancipation and the Family of Moses Williams, Philadelphia, 1776-1833.” was accepted for the 45th AAHGS National Conference this October!  Appreciate the opportunity to share, learn and contact other genealogists and family historians at this wonderful event, hosted by AAHGS President LaJoy Mosby. 

The conference theme is “Fighting Erasure: Staying Visible by Keeping African American Genealogy and History in Focus.” This centers on the “role of preserving and spotlighting African American history and genealogy in the broader narrative of American history.” 

Silhouette of Moses Williams, Cutter of Profiles, 1802
Silhouette of “Moses Williams, Cutter of Profiles, 1802″Library Company of Philadelphia.

Here’s my abstract for my presentation, “Not Yet Completely Free: Gradual Emancipation and the Family of Moses Williams, Philadelphia, 1776-1833.” :

When the word slavery comes to mind, many think of the US South, rather than the Northern states. Northern slavery’s history is less well known, particularly in states with gradual emancipation—Pennsylvania, New York, New Jersey, Connecticut. This presentation focuses on the family histories tied to the silhouette artist and museum artisan Moses Williams (1776-ca 1833), to glimpse African descended, Free People of Color and the challenges faced in their process of emancipation. The reality of bondage challenges the image of Philadelphia, a city so closely identified with national freedom. Important clues for Moses Williams and his family are contained in archives that includes the Pennsylvania Abolition Society, and records for his former enslaver, the Maryland-born portrait painter and Philadelphia-museum owner Charles Willson Peale (1746-1823). Peale held Williams’ parents between 1776-1786, and freed Williams in 1803. Most archival material on the Williams family is excavated from the Papers of the Peale Family, newspapers, deeds & census records. While the origins of Williams parents remain a question, records suggest the situations that Free Black Philadelphians contended with under the 1780 act for Gradual Abolition. Freedom was negotiated and paid for with terms of service at a tender age. This case study shows how the increased availability of digitized records and community research helps restore the experiences of free Black families to a larger historical narrative. 

My deep thanks to Nancy Proctor and Dean Krimmel of The Peale Baltimore, who have invited me to share my work on Moses Williams, who now has a museum space and internship program named after him; and to Carol Soltis, of the Philadelphia Museum of Art, who is currently studying Williams’ technique and style for the profiles he produced, that numbered nearly nine thousand. Williams’ family members experienced degrees of unfreedom in different ways, and I seek to acknowledge their resilience by considering the ways they sought freedom at the cusp of the nineteenth century.

Come Celebrate Juneteenth with The Majani Project in DC!

Flyer for Family 365: a Juneteenth celebration Event

Will you be in Washington DC this Saturday?

This Saturday June 15, The Majani Project is holding Family 365: A Genealogy Block Party to celebrate Juneteenth, National Independence Day. Honoring ancestors is the order of the day!

I’m so excited to say i’m one of the genealogists who’ll be participating in this event. I’ll be zooming in & chatting with Kenyatta Berry, former host of Genealogy Roadshow, LaJoy Mosby, President of AAHGS and guests about how to get started with genealogy– even if you haven’t started before. Let’s get into it!

The indoor/outdoor event happens between 1-5pm at the Episcopal Church of the Atonement, more details below:

About the event: Ties of the Black and Brown communities in DC go deep! Chuck Brown is the father of go-go, but did you know about the music’s Latin influence?  We’re excited to announce a first-ever event in a celebration of similar and shared heritage, history, and identity. Plus—discover how to unlock the secrets of your own ancestry with renowned genealogists LaJoy Mosby, President of AAHGS, Dr. Ellen Fernandez-Sacco, with special guest  Ms. Kenyatta Berry, former co-host of the “Genealogy Roadshow” will also be here!

Verbal Gymnastics is bringing Playback Theatre (where storytelling and art meet community) to the party, so get ready for some amazing and interactive improv! We’ll also have the DC Office of the Medical Examiner onsite to highlight Black and Brown missing persons cases. Learn how genealogy is used to solve crime! So come on out—there’s something for everyone!

Date: Saturday, June 15

Time: 1pm – 5pm

Location: Episcopal Church of the Atonement (5073 East Capitol St SE) and 52nd St SE

Admission: Free and Open to All

Highlights Include:

Live Music: Go-Go, The Lilo Gonzalez Band, and More!

DJ Buddah!

Free Food!

Cultural Performances!

Game Truck!

Giveaways!

 Parking:

Street parking and parking lot at Guiding Light Baptist Church (1 51st St SE)

About The Majani Project:

Organized by the Majani Project, a Black youth-focused genealogy nonprofit located in Ward 7, in collaboration with Genealogy Adventures, the premiere Black online genealogy show, this event aims to introduce youth and adults to genealogy to honor the ancestors, unravel family history mysteries, and connect with your roots. 

Mareas de Memoria: Black History & Genealogy in Puerto Rico: 25 April 2004

Mareas de Memoria event flyer

Come to a series of short presentations and a panel discussion on Black History & Genealogy in Puerto Rico! I’m excited to share in the discussion at this event this afternoon, hosted by Taller Entre Aguas & Black Testimony Project.

Join TEA x BTP on April 25, 2024 from 2pm-4pm EST for a special virtual event titled, Mareas de Memoria: Black Puerto Rican History and Genealogy on Zoom.

Register here: https://msu.zoom.us/webinar/register/WN_uH4EEuZvTWKWkUNAky1dWg#/registration

Guest Speakers:

Dr. Jada Benn Torres

Melanie Maldonado Díaz

Dr. Ellen Fernandez-Sacco

Thanks to the IOLI & El Museo del Mundillo!

“El Museo del Mundillo: Sustaining Tradition.” 11 Feb. 2024

This past February, I presented my talk, El Museo del Mundillo: Sustaining Tradition, to the International Organization of Lace Inc.

For over twenty years in Moca, the Museo is an important focal point, interconnecting tejedoras, artisans, materials and cultural memory, under the directorship of Don Mokay Hernandez Vale. 

Don Benito ‘Mokay’ Hernandez Vale founded the museum with the support of a group of tejedoras (master lacemakers), some no longer with us. Today, El Museo del Mundillo sits near the town’s plaza in the former 1935 health building on Calle Barbosa in the heart of Barrio Pueblo in Moca.

The museum serves the community by connecting artisans, hosting trainings, coordinating festivals and events. Featured are many examples of local lacemaking, and the institution preserves aspects of mundillo’s history all too often lost when an artisan passes.

Also on display are works that tie mundillo to deeper histories of the island. This is seen in the framed work of Carmen Quinones Marcial & Frances Mendez Colon’s (QEPD) Tejidos de Maguey. Featured is lace made from the fibers of the maguey plant, processed and transformed into a decorative arrangement of fan and flowers. 

This talk covered an overview of the museum, the community’s century’s long involvement with mundillo and the importance of supporting this institution today. 

Here’s a recent tour of the Museo del Mundillo by the Museo de las Americas PR’s #DaleClickaLaCultura initiative:

I’m delighted to learn of one artist’s amazing use of mundillo in their work- artist Glorimar Garcia reached out after my talk and shared her site! – Be sure to check out her installations & projects.

The talk is archived for IOLI members. IOLI VP Prabha Ramakrishand sent a lovely letter of acknowledgement and a year subscription to the IOLI digital journal. So appreciate the gift!

What Lies Beneath: The search for unmarked burial grounds in Hillsborough County

What lies beneath exhibit panel

The Waterman Exhibit Gallery, Institute for Forensic Anthropology & Applied Science, Social Science Building (SOC), USF 15 Sep 2023- 30 Jan 2024

https://www.usf.edu/arts-sciences/institutes/ifaas/programs/what-lies-beneath-exhibit.aspx

The idea of a cemetery often brings with it a belief in permanence. The emotional, physical and community efforts to commemorate ancestors can collide with the sobering reality of what happens when these sites of memory are lost, forgotten or erased by larger forces set in play by Jim Crow.  These erasures wipe away the human traces of a former world built with a difficult history that extends to the Post-Emancipation period.

Myrtle Hill Cemetery & Spanish Park East Cemetery in maps. What lies beneath, USF, Dec 2023

Overbuilt & Conveniently Forgotten

During the time I have lived here, several rediscovered burial grounds beneath high schools and housing complexes appeared in the pages of the Tampa Bay Times, awakening the grief of many over the unmarked graves. In 2019 the bodies of ancestors buried in the Zion Cemetery and Ridgewood Cemetery emerged as recent examples of a history of segregation literally buried in the rush to develop areas of Tampa. Ground penetrating radar found 145 of the original 270 burials from the former Ridgewood cemetery that year, nearly all of them Black.[1] Redlining was the motor for such outcomes.

Museum Studies: Race, Memorialization & the Museum

Over forty cemeteries and burial grounds were identified in the study  undertaken by Dr. Kimmerle and her Ph.D. candidate Kelsee Hentschel-Fey, along with GIS Manager Benjamin Mittler, and Dr. Lori Collins of the USF Center for Digital Heritage and Geospatial Information. Students in Dr. Kimmerle’s museum studies class  “Race, Memorialization and the Museum”  produced the exhibition. 

“The exhibit offers a unique view into the history of the area told through the lens of its cemeteries, utilizing historic and modern photographs, archival documents and maps depicting the approximate locations of newly re-discovered burial grounds, and mixed media sculptures to help convey the story of the buried past. “

Memory Jug, Caitlin Figueroa.
Memory Jug, Caitlin Figueroa. Mixed media.

Images of the Exhibit: December 2023

This fascinating show was created by several scholars who came together in a multi-year interdisciplinary investigation into unmarked burial grounds in Hillsborough County, Florida.  As one walks through the exhibit, the layers of information ultimately defy anonymity, and offers proof of a history told by those who lie beneath the city. To end on the Dozier School for Boys was a powerful note. Here are some of my fotos of the show, that lend an idea of the content. 

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Why this Show Matters

Given the history of this state and the current efforts to obscure Black and Indigenous histories, this exhibit matters.

There remains a profound need for a followup exhibition covering the continued efforts on memorialization by various local and descendant communities as additional sites come to light.  

[1] Paul Guzzo, “NAACP wants reparations for Tampa’s Black cemeteries that government “stole”. Tampa Bay times 27 Feb 2023

https://www.tampabay.com/life-culture/history/2023/02/27/tampa-black-cemetery-ridgewood-naacp/

Resources

See collection of articles on the Tampa Bay Times website:

In search of lost cemeteries A number of cemeteries forgotten through the years across the Tampa Bay area came to light during 2019, most of them final resting places for African-Americans. The new attention to old burial grounds springs from a Tampa Bay Times report in June that revealed the first and largest of them – Zion Cemetery in Tampa.

https://www.tampabay.com/topics/zion/

Black Cemetery Network: Zion Cemetery https://blackcemeterynetwork.org/bcnsites/zion

African American Cemetery Alliance of Tampa Bay https://african-american-cemetery-alliance-of.business.site

Florida Public Archaeology Network http://www.fpan.us

FPAN – Training courses on cemetery care https://www.fpan.us/training-courses/crpt/

AAHGS-Tampa

Dozier School for Boys / Florida School for Boys https://en.wikipedia.org/wiki/Florida_School_for_Boys

“A Forgotten History of How the US Government Segregated America.” NPR, 3 May 2017. https://www.npr.org/2017/05/03/526655831/a-forgotten-history-of-how-the-u-s-government-segregated-america

Lcdo. Lorenzo Oscar Caban Arocho’s Bienvenidos a Moca

cover, Caban Arocho, Bienvenidios a Moca

Mira lo que los Tres Reyes Magos brought to my house!

A new book by Lic Lorenzo Oscar Caban Arocho, Bienvenidos a Moca. As you can see, this is a big book that is another contribution to a growing list of books on the experience of being Mocano. In it, Caban Arocho brings together his memories with a wide range of photos and publications on Moca. 

This book, as with other generational local histories, take a highly personal perspective and are insightful as they lend a sense of the changes in barrio Pueblo over time. There’s even his reflections on my article on Leoncia Lasalle and her family, that awakened his recollection that she was his partera, the midwife who brought him into the world over eight decades before. 

I’m looking forward to delving into the book— and will post where you can buy a copy. In the meantime, here’s the ISBN number: ISBN 979-8-3507-2470-7

photograph of Lcdo Lorenzo Oscar Caban Arocho

Lcdo. Lorenzo Oscar Caban Arocho, from Bookdatabase online. Note the sleeve decoration made of mundillo. His wife is an accomplished tejedora (lacemaker).

cover, Caban Arocho, Bienvenidios a Moca
Cover, Lorenzo Oscar Caban Arocho, Bienvenidos a Moca (2023)

The New Moses Williams Gallery at The Peale, Baltimore

Daryl Lewis gives silhouette demonstration in Moses Williams Gallery

I’m delighted to share that on December first, Baltimore’s The Peale is opening a gallery named for Moses Williams, who was a silhouette cutter at Peale’s Museum in Philadelphia between 1803 to about 1827.

Daryl Lewis demonstrates a silhouette panel at the Peale Museum, Baltimore, 2023.
Daryl Lewis demonstrates a silhouette panel at the new Moses Williams Gallery at The Peale, Baltimore, 2023

Williams, born about 1776, was a skilled silhouette artist, born into slavery; he and his parents were enslaved by Charles Willson Peale. His parents gained their freedom and Williams grew up working in the Peale family’s Philadelphia Museum, where he learned to prepare and install exhibits.  In the summer of 1799, Williams learned taxidermy as an assistant to Peale, preparing birds collected on the New Jersey Shore. In 1801, he worked mounting the skeleton of the mastodon, and in 1803 became a silhouette cutter at the museum, on the second floor of Independence Hall.  Williams was literate,  probably picked up a bit of Latin, placed his own advertisements in the local newspaper, bought land, owned a home, and was known in the local community. 

Williams, the first Black museum professional in the U.S., now has a center and a gallery named in his honor.  Moments in his life are illustrated by silhouettes that visitors can see with a penlight as they go through the gallery as seen above.

Silhouette of Moses Williams, Cutter of Profiles, 1802
“Moses Williams, cutter of profiles”, silhouette, 1802

Today, the Moses Williams Center is the Peale Museum’s teaching gallery and home to the Accomplished Arts Apprenticeship program, which offers training in exhibition preparation and the historic preservation trades. Their recruiting fairs for the program happen the third week of October for this 32 week program. Launched in 2020, this paid apprenticeship consists of “non-traditional mentorship and vocational training in fine art, curatorial practice, art installation, logistics, and historic building preservation to develop transferable skills using arts as the driving force.”

This is a wonderful way to memorialize Moses Williams’ skills, creativity and resilience. It is in stark contrast to the withering account of him and his family given by Rembrandt Peale in “The Physiognotrace.” published in an 1857 issue of The Crayon. My guess is that this was such an awful perspective that Lillian Miller found she could not bear to discuss it in her bibliography for her catalog, In Search of Fame: Rembrandt Peale 1778-1860. While Peale’s account held no expectations for Williams’ person or future, it is, ironically, the main building block for understanding the context that Williams lived and worked in.

Enslavement, the slave trade and Native dispossession are no longer marginal to the story of Peale’s Museum in Philadelphia. Moses Williams is now a very visible ancestor.

See my “Racial Theory, Museum Practice: The Coloured World of Charles Willson Peale.” Museum Anthropology, 1996. You can download a copy here.