Girard College for Orphans at Philadelphia 1848 - 1879

Editor: This is "Girard College for Orphans at Philadelphia," dating between 1848 and 1879 by James W. Steel. It seems to be some sort of print, the paper is aged and the palette very light, almost washed out. It depicts a large, imposing building that resembles a Greek temple. What strikes me is the social contrast – this grand architecture dedicated to orphans. What's your take? Curator: The image, viewed through a historical lens, speaks volumes about 19th-century American ideals and anxieties. Andrew Girard, a wealthy philanthropist, stipulated in his will that a school be built for poor, white, male orphans. The Greek Revival architecture, deliberately chosen, signifies democracy, reason, and civic virtue – values the institution aimed to instill. What do you think the artist might be communicating by depicting the college in this way? Editor: Maybe by portraying it like that they tried to convey the idea that the orphans educated there were becoming exemplary citizens. But aren’t the values behind the choice of “white, male orphans only” a little questionable from our modern perspective? Curator: Precisely. The image normalizes the social hierarchies of the time. Steel’s work inadvertently reveals the selective application of democratic ideals, showcasing who was deemed worthy of upliftment. It prompts us to question the social and political forces that shaped educational institutions and access to opportunity. Editor: I hadn’t considered that. So, it’s not just a pretty picture, it's a record of who mattered, and who didn’t, according to 19th-century societal norms? Curator: Exactly. Images like this reveal the politics embedded within ostensibly benevolent institutions, a stark reminder that the past is never neutral. Editor: I will look at these historical depictions more carefully now, with a more critical approach! Thank you for the insightful analysis.