Little evidence of the Battle of Atlanta remains. The Cyclorama painting, markers and a vivid imagination are a good start. Our experts weigh in on their must-sees

Sign off Memorial Drive, scene from the Cyclorama, McPherson monument and 1964 state map

People often lament Atlanta paved over its Civil War battlefields. But there are some vestiges of the fighting, and you can go to a couple museums and gaze at dozens of roadside markers to get a sense of what happened there.

Tuesday is the anniversary of the July 22, 1864, Battle of Atlanta, which led to the fall of the Southern city weeks later and likely assured the re-election of President Abraham Lincoln. 

I asked area historians, tour guides and preservationists to suggest places the interested can go to learn more about the battle and its importance. Among the suggested stops are markers where Union Maj. Gen. James B. McPherson and Confederate Gen. William H.T. Walker, a grizzled Confederate veteran nicknamed “Shot Pouch," were killed in action that day.

The following responses have been edited for context and brevity. A few sections have material from previous Civil War Picket posts. 

CHARLIE CRAWFORD, president emeritus of the Georgia Battlefields Association

Obviously, start at the Cyclorama at the Atlanta History Center. Spend at least half a day studying the painting and all the associated displays, including maps at the “War in Our Backyards” kiosk on the main floor, not far from the locomotive Texas display. It would help if you have already read related books by Albert Castel, Steve Davis, Earl Hess and Bill Scaife.

Go thereafter to the Carter Center bus parking lot and note three historical markers there, including the one for the Augustus Hurt House, which was Sherman’s HQ during the battle. 

View toward Stone Mountain in Cyclorama, which shows July 22, 1864; Decatur Road on right (Atlanta History Center)

Next, drive to Inman Park MARTA Station parking lot, start eastward on foot along DeKalb Avenue and note the Georgia historical markers, starting with the Pope House. Continue eastward on foot along DeKalb Avenue and turn north onto DeGress Avenue, which has three more markers, including a marker for the Troup Hurt House that you saw in the Cyclorama painting and a marker for the DeGress battery. 

The Old Decatur Road was more serpentine than DeKalb Avenue is now. It curved south of the railroad, then back north in the vicinity of the Confederate breakthrough. You can see this in the diorama at the base of the painting at AHC.

Return to you vehicle and drive eastward on Glenwood Ave SE and turn left (north) immediately past the I-20 interchange onto Wilkinson Drive. In 150 yards, turn left into the parking area for DeKalb Memorial Park. Walk back south to Glenwood Avenue. Note the Walker monument (upright cannon), its associated marker, and the marker across Glenwood Avenue for Terry’s Mill Pond. (Picket photo of Walker stone)

When done, walk back to your car and turn left (north) out of the parking lot until you hit Memorial Drive. Turn left (west) on Memorial Drive then take the first right onto Clay Street. Stop the car almost immediately and note the “Battle of Atlanta Began Here” marker on the west side of the street.

Safely find a way to turn around and head south, then make a right (west) on Memorial Drive. Take the second left (south) onto Maynard Terrace, and immediately after passing the I-20 interchange, turn right (west) onto McPherson Avenue. Park when you see the McPherson monument (upright cannon) on your left. Read the associated markers there. 

Not a comprehensive tour, but should be enough to prompt further research among the uninitiated.

Go to Georgia Historical Society’s marker page and read the texts ahead of time by searching DeKalb County and Fulton County markers.

JIM OGDEN, historian at Chickamauga and Chattanooga National Military Park

Charlie is certainly the expert here, so I would second his recommendations and add only a couple of others.  

While not 100% historically accurate, the visual of the Cyclorama is so valuable that going there or starting there is really important. It would also be really valuable to have a printed copy of it with you while you do the walk along DeKalb Avenue, particularly for when you're along DeGress or if you maybe even walk just a bit farther east on DeKalb and then turn around and look back west, holding that portion of the Cyclorama up in front of you. 

It's a window back in time through all the 21st and 20^th century around you.  I can't remember if AHC is selling any sort of printed reproduction of it but there is the old Kurtz 30 p. booklet of it that probably can be found on the used market.

Marker at Springvale Park mentions remnant of ravine (David Seibert/HMbd.org)

This might be too obvious, but the only other thing I might note is that the many railroad tracks today on the south side of DeKalb are the modern version of the one track that is another one of the important landmarks in the Cyclorama.

For someone who might be up for a bit more of a walk, particularly if they want to do it a bit more from the perspective of the Confederate attack in the painting, would be to walk farther west on DeKalb, at least to Waverly Way, and then north to Springvale Park to see the remains of the low ground the Confederates crossed north of the railroad as they attacked east and the markers there. (Springvale Park has one of the few monuments to the battle. It has a marker as well, indicating that Manigault’s Confederate brigade reformed in the low ground there before making their final dash).

One could even go to Oakland Cemetery to the rise from which Hood watched the battle.  

Atlanta may have seemingly swallowed the July 22 battlefield, but there are still faint traces of that history to be found on the ground.

Artillery Capt. Francis DeGress trails Maj. Gen. Logan in Cyclorama scene (AHC)

PERRY BENNETT, local historian and tour guide

Perry Bennett, a retired Army lieutenant colonel, will be giving a free tour at 1 p.m. Tuesday.

The historian said the tour will start at a historical marker on the grounds of Alonzo A. Crim Open Campus High School, 256 Clifton Road SE. It is being given to the Longstreet Camp of the Sons of Confederate Veterans but anyone can attend. 

“I cover both sides but am focused upon when the battle began on this particular tour and what went well and what did not,” he said.

Bennett mentions markers where Bate’s Confederate division deployed, where two of his brigades were blocked during their attack and another sign indicating where Walker’s division attacked the same hill from Terry’s Mill pond. 

The tour will also make stops at the sites of McPherson’s and Walker’s killings.

Those interested can contact Bennett at lperrybennettjr@gmail.com

CHAD CARLSON, East Atlanta historian and Civil War photo collector

Chad Carlson, a historian with the Georgia Department of Transportation, suggests a stop in East Atlanta Village, at the intersection of Glenwood and Flat Shoals roads. The agency put up a Battle of Atlanta replica marker and interpretive panel in 2013 to replace a 1930s version that was removed in the 1970s. (Read about that here).

Carlson said he appreciates the simplicity of the marker, which describes military units and troops movements. It describes Confederate troops pushing Federal units back to Leggett’s Hill on July 22.

Marker about troop movements in East Atlanta (Georgia DOT)

GDOT made an exact replica but used a cheaper metal material, I think aluminum, instead of bronze, so (there is) less likelihood of it getting stolen.”

For years, local historians, Civil War buffs and the Battle of Atlanta Commemoration Organization (B*ATL) have worked to educate residents and visitors to the rich Civil War history of East Atlanta, Kirkwood and other Atlanta neighborhoods.

For decades, Gordon Jones has bridged Civil War scholarship and the public. Emerging Civil War has honored Atlanta History Center curator for his efforts

Gordon Jones has been an historian and storyteller for decades (Picket and AHC photos)

Affable and engaging, Gordon L. Jones, the senior military historian and curator at the Atlanta History Center, has for decades been instrumental in telling the story of the Civil War and its impact on place, people and memory.

Whether it has been through talks or artifacts he has researched and curated, Jones is considered the consummate public historian, according to Emerging Civil War.

He led the relocation and restoration of “The Battle of Atlanta,” the breathtaking cyclorama painting depicting the July 1864 battle, and has overseen “Turning Point: The American Civil War,” the AHC’s permanent Civil War exhibit that soon will be overhauled. Another project was the restoration of the locomotive Texas, famous for its role in the 1862 "Great Locomotive Chase."

Emerging Civil War, a collaboration of about 30 historians, recently bestowed its 2024 Award for Service in Civil War Public History to Jones at its annual meeting in Spotsylvania County, Va., saying he has had a significant impact on the field of public history by helping connect everyday people to America’s defining event.

Focal point of the Atlanta Cyclorama shows a brief Rebel breakthrough (Picket photo)

Those who know Jones say the historian richly deserves the recognition by making the history center one of the best Civil War museums in the country. He’s been on the staff since 1991. 

“Gordon's knowledge of the history, the material culture and both the history of and the practice of interpretation has meant that the museum and its exhibits haven't just been a bunch of ‘old stuff on display’ but a place of history, education, context and provocation -- the muse in museum,” Jim Ogden, historian at Chickamauga and Chattanooga National Military Park, told the Civil War Picket in an email.

“So much of Atlanta's, the Civil War's story wouldn't be accessible today if it weren't for Gordon's hard and thoughtful work,” said Ogden.

Chris Mackowski, editor in chief of Emerging Civil War, said Jones has ensured the AHC tells “a full, balanced, and remarkably rich story.”

Over the years, Jones has ensured people hear different perspectives, including those that may challenge long-held beliefs.

Jackson McQuigg and Jones in North Carolina for a 2017 talk about restored Texas (AHC)

“This means a lot to me because it comes from colleagues who are involved in the same kinds of work,” Jones said of the honor in an email Friday.

“Scholarship is essential, but so is engaging the wider public. We stand on the shoulders of giants – all those collectors, scholars, teachers, reenactors, friends and comrades who came before. I've learned so much from them over the years, and that's the greatest blessing of all,” he wrote.

Jones holds a master of arts in public history from the University of South Carolina and a Ph.D. from the Institute for the Liberal Arts at Emory University.

The curator has been a fixture at Civil War shows, AHC events and the Atlanta Civil War Roundtable, which he joined in 2001 and served as president in 2016-2017. His interest in the conflict grew as he took part in reenactments as a young man.

“At a high level, Gordon’s transformational work at the Atlanta History Center has elevated their Civil War exhibitions to world-class heights, and his leadership here at the Atlanta Civil War Round Table has connected our group to original research and opened doors to other leading authorities in the field,” said Sam Moses, president of the organization, which meets monthly at the AHC.

The dark-lit "Turning Point" exhibit is a longtime Atlanta History Center fixture

“But the thing that makes Gordon a truly one-of-a-kind educator is his unique ability to bring even the most casual observer into direct contact with history,” Moses said. “Gordon leverages artifacts -- often rare (and sometimes seemingly trivial) -- to weave a thread of importance that connects through time to the present day. Without leaning on over-dramatization, his presentation style builds steadily on fundamental themes, using good humor and carefully curated objects to help audiences relate to the people of the past, and even share in their experiences so many years afterward.”

A current priority for Jones is remaking the AHC’s “Turning Point,” its core but somewhat dated Civil War exhibit. Space for exhibits will jump from 9,200 square feet to 15,400 feet.

“Among (others) things, that allows us to exhibit collections acquired since ‘Turning Point opened in 1996, including the George Wray Collection and the rest of our U.S. Colored Troops artifacts," said Jones. "All this is due for opening in 2026. Yes, much still to do.”

Flag of the 127th USCT is in the AHC collection (Photo: Morphy Auctions)

The AHC’s collection of USCT items includes a regimental flag, knapsack, swords, soldier badges and a soldier manual. The Wray collection provides a fascinating look at Confederate weapons, some well-made, and some not so much.

Jackson McQuigg, vice president of properties for the AHC, has worked with Jones for three decades, notably on the Cyclorama and Texas projects.

“One thing I've noticed is that Gordon's deep knowledge of Civil War and military history is always accompanied by a desire to learn more. Not one to rest on his existing knowledge base, Gordon remains genuinely interested in historical research, especially if it will make him a better storyteller.”

“Further, Gordon is accessible -- always. His outgoing, friendly demeanor is genuine, real and available to all. He's never met a stranger. These are qualities which make him a joy to work with and a worthy recipient of this honor.”

The Picket, which has spoken with Jones about numerous topics over 15 years, reached out to other historians and Civil War experts for their reaction to the honor:

Jones in 2021 with a rare Whitworth sniper rifle used by the South (Picket photo)

Charlie Crawford, president emeritus of the Georgia Battlefields Association

“Gordon deserves every public history award there is.”

Michael Shaffer, author of “Day by Day Through the Civil War in Georgia

“Very well-deserved. Gordon is always eager to share his wealth of knowledge with others, and remains a trusted member of the Civil War community.”

W. Todd Groce, president and CEO of the Georgia Historical Society

“This award is a well-deserved recognition of all that Gordon has accomplished over a long and productive career. He is a skillful public historian who knows how to effectively make scholarly history relevant and accessible to wide audience. I’m proud to be his friend.”

Past recipients of the ECW public history award include Civil War Trails, American Battlefield Trust; historian and author Gary Gallagher; Dave Ruth, former superintendent at Richmond National Battlefield; and the late D. P. Newton, founder of the White Oak Civil War Museum.

Emerging Civil War also honored Patrick Young, author of the Reconstruction Era blog, with the Stevenson Award for outstanding service to the organization.

Gettysburg to hold first sensory friendly event Saturday morning, with no loud sounds or flashing lights in Cyclorama, museum

The Cyclorama will be lighted, but sounds will be off Saturday (Gettysburg NMP)

Gettysburg National Military Park on Saturday (Feb. 4) will introduce its first sensory friendly event at its museum and Cyclorama, from 9 a.m. to 11 a.m. The program is co-hosted by the Gettysburg Foundation.

The idea is to eliminate loud sounds and strobing lights for those on the autism spectrum or having PTSD.

During those hours, visitors will have free access to the painting and galleries. The Cyclorama will be displayed fully lit, but with no narration, sound effects or flashing lights, so visitors can spend an extended time with the painting. Where possible, loud sounds from audiovisual displays, interactives and films will be reduced or turned off in the Gettysburg Museum of the American Civil War, park officials said. “Hands on History” carts will be available allowing visitors to touch and feel reproduction objects from the parks collection.

Chris Gwinn, chief of interpretation and education at the park, emailed the following responses to questions about the event from the Civil War Picket. The responses have been edited.

Q. How did the idea come about? Is this something park visitors have asked about/for?

A. We have had many visitors comment to us that the Cyclorama show and the museum galleries are loud. Most of the time this isn't an issue that detracts from the overall experience of visiting, and in the case of the Cyclorama presentation the intent is for the soundscape to mimic the thunder of battle. With that said, for anyone with sensory sensitivities, be it PTSD or individuals on the autism spectrum, the experience can be quite overwhelming. Our goal is to make sure all visitors have an opportunity to engage with our museum in a meaningful way and that our programming is as inclusive as it can be. This new event is an attempt to forward that goal. 

We have a great relationship with the Wounded Warrior Project, and in the past have offered them quiet time with the Cyclorama. It was such a positive experience for the attendees that we wanted to extend it to the general public. At the same time, our education team has been committed to offering more inclusive learning opportunities. In addition to this event, they have recently piloted new programming for the visually impaired, as well as those with hearing impairments. 

Q. Are there any specific groups or individuals you are expecting this Saturday? If so, can you provide a brief description?

A. We hope that anyone who enjoys a quieter or more relaxed museum experience will attend. We especially hope that young visitors, especially those on the autism spectrum, along with their friends and family members are able to attend. We also hope to provide a chance for those with PTSD to enjoy the Cyclorama experience and museum without the sound and strobing lights. 

Q. Are there other such venues around the country that have done this? If so, have you been in contact with them or discovered ideas?

A. We did not invent this concept. Other museums and historic sites such as Mount Vernon, the Smithsonian, and others have piloted similar events. I believe this is the first of its kind for a National Park Service Museum or Civil War site. We have been in close contact with these institutions and they have provided some wonderful tips. The big challenge for us is to make this event appropriate for a battlefield park / museum.

Part of the camp life exhibit at the park's museum (Gettysburg NMP)

Q. How will the day work? Will there be a program per se, or will the event be "self-guided"?

A. The program will be self-guided. Visitors can spend as much time as they want in the Cyclorama or museum. We will have staff and volunteers on hand to assist and provide opportunities to have a tactile experience (handling reproduction items, etc.). 

Q. Are you able to provide a small list of what will be in the "hands on history" carts?

A. Reproduction museum items. Uniform and equipment of the Civil War infantrymen, replicas of what visitors can see in the diorama surrounding the cyclorama, musical instruments and more.

Q. What is the specific purpose of the sensory bags patrons will receive? What is included and why? Will they be able to keep them?

A. Yes, visitors will keep the bags. The purpose is simple: 1) to provide basic park information (maps, museum guide, etc.), but also, 2) to provide a tactile experience. The bags are designed to help lessen the potential sensory overload for our younger visitors. It gives them something to fidget with that engages them at the same time. These are very common in museums, libraries, and classrooms. They will contain: A park map and guide, a social narrative guide, a small notebook, Legos, modeling clay, etc.

A "hands on history" cart at the museum (Gettysburg NMP)

Q. In your and the staff's experience, why are loud sounds, narration and flashing lights an impediment to some visitors?

A. It is the cumulative effect for those audiences I mentioned above. It is simply too overwhelming for individuals with these sensitivities, or it has the potential to trigger a previously traumatic experience. 

Q. During these two hours will only the target audience be allowed in the areas?

A. We won't turn anyone away. Anyone who wants to experience the museum and Cyclorama is free to do so. (A quiet space will be available in the Ford Education Center for those visitors who need a break during the event.)

From the park: Complimentary tickets for the sensory friendly hours at the museum and visitor center can be picked up day of at the ticketing desk in the main lobby. All sound, light, and audio-visual programming will return to normal beginning at 11 am. Visitors with sensory friendly tickets are encouraged to explore the museum galleries and remain in the visitor center if they wish. Please note: During sensory friendly hours the park orientation film, “A New Birth of Freedom,” will not be available.

In Atlanta, John A. 'Black Jack' Logan picked up the pieces and helped save the day for the Union. He inspired his men in several battles

In the nick of time, Logan rallies the troops on July 22, 1864 (Picket photo)

On Friday, I marked the 158^th anniversary of the Battle of Atlanta in a rather unusual way. Rather than walking paved-over battleground, I drove to the Atlanta History Center and bought one of two puzzles it stocks depicting the Cyclorama painting. It's been a while since I put one together.

The AHC, of course, houses the colossal Battle of Atlanta Cyclorama, which focuses on a brief Confederate breakthrough on the afternoon of July 22, 1864, at the Troup Hurt house.

Galloping furiously to the rescue, hat in hand, is Union Maj. Gen. John A. “Black Jack” Logan, temporary head of the Army of the Tennessee. That’s the scene shown in the 48-piece puzzle (I know, not super challenging to put together).

Known for his flowing hair and marvelous mustache, Logan was perhaps the best “political” or non-West Point general fighting for the Union. His clutch performance in Atlanta and a few days before, at Dallas in nearby Paulding County, were perhaps his shining moment.

Capt. DeGress trails Logan as they ride forward (AHC)

Entering the battle, Logan, commanded the 15^th Corps, which with the 16^th  Corps and 17^th Corps, made up the Army of the Tennessee. During the pitched fighting on the 22^nd, Maj. Gen. James B. McPherson, commander of that group, was killed. Logan took command of the three corps and rallied troops after the breakthrough and pushed the Rebels back, securing a decisive victory.

“He was a damn good leader -- indispensable in restoring 15^th Corps morale that afternoon,” says Gordon Jones, senior military historian and curator at the AHC.

Jones cited remarks made by J.W. Long of the 2^nd Iowa Infantry in a National Tribune article in September 1888:

"No one can describe how Logan looked in battle any more than he could describe the raging sea. I am satisfied that the biggest coward in the world would stand on his head on top of the breastworks if Logan was present and told him to do so."

Logan excelled despite no military training before war (Library of Congress)

Logan, from Illinois, served in the U.S. House before the war. He opposed abolition of slavery, but his thoughts on that changed during the war and he later espoused equal rights for African-Americans. He served with distinction at Fort Donelson, where he was wounded, and Vicksburg.

In his review of Gary Ecelbarger’s biography of Logan, Charles R. Bowery writes of the general: “Logan was a quick study in tactics and the operational art. He took care of his men, shared hardships with them, and led by example at all times, placing himself in danger to inspire his men on numerous battlefields. The units he commanded responded in kind, often stopping to cheer him when he appeared on the field of battle to reverse a deteriorating situation.”

Such a potential situation presented itself at Atlanta, when Logan, as ranking officer, found himself in the hot seat after McPherson (right) was shot down. The news of the popular McPherson’s death tore through the Union lines that afternoon. He was a favorite of Gen. William T. Sherman.

Ten years after the war, Logan made these remarks at the unveiling of the McPherson monument in Washington, D.C.

“The news of his death spread with lightning-speed along the lines, sending a pang of deepest sorrow to every heart as it reached the ear; but, especially terrible was the effect on the Army of the Tennessee. It seemed as though a burning, fiery dart had pierced each breast, tearing asunder the flood-gates of grief, but, at the same time, heaving to their very depths the fountains of revenge. The clenched hands seemed to sink into the weapons they held, and from the eyes gleamed forth flashes terrible as lightning.

“The cry ‘McPherson, McPherson! and “McPherson and revenge!’ rose above the din of battle, and, as it rang along the lines, swelled in power, until the roll of musketry and booming of cannon seemed drowned by its echoes.”

The Cyclorama, which was painted in Milwaukee to show a Union victory, was later modified and misinterpreted in Atlanta as showing a Southern triumph – however short.

At 4 p.m. on July 22, the battery of Federal Capt. Francis DeGress was firing canister as fast as it could near the Troup Hurt house (left). Determined Confederates continued to push forward and were about to be upon them.

DeGress knew the horses could not pull back the guns in time, Jones said, and he had two guns spiked. The captain and Sgt. Peter Wyman stayed with the other two weapons, firing double canister. They eventually had to flee; Wyman was killed while DeGress fled back to the collapsed Federal line.

Fast-forward to the scene depicted in the Cyclorama: Logan – riding a black horse named Slasher -- rallying his troops and rushing toward the breach, with DeGress riding behind.

DeGress, already a respected veteran, is about to become a folk hero to the Northern cause. He retakes the four 20-pounder Parrott guns and turns them on the retreating Confederates.

(It’s important to note the battlefield on July 22 was much larger than what is shown in the painting. For example, troops clashed for a much longer time on Bald (Leggett’s) Hill south near current Interstate 20.)

Charlie Crawford, president emeritus of the Georgia Battlefields Association, told the Picket that Logan was “inspirational” at Dallas and Atlanta.

“Didn’t function much as an army commander, but was great at restoring the line of his own 15^th Corps. McPherson and Dodge (16^th Corps) deserve credit for repulsing the initial attack on the far left flank, and Blair (17^th Corps), Leggett, and G.A. Smith did most of the command work in the Battle for Bald Hill.

“By the time (approx. 2:30) that Logan knew he was an army commander, 17^th Corps was facing repeated attacks by Cleburne and Maney, but Blair, Leggett, and G.A. Smith were effective in their respective command roles without a lot of direction from Logan. Once breakthrough occurred in 15^th Corps sector (approx. 4:30), Logan justifiably focused on that emergency.”

Logan, DeGress and others head for the Troup Hurt house breakthrough (AHC)

Despite his heroic service that day, Logan served as commander of the Army of the Tennessee for only four days. Sherman gave that job to Maj. Gen. Oliver O. Howard, a West Point grad. Sherman reportedly was skeptical of politicians in uniform, but there may have been personal differences, too. Logan was crushed by the news.

He “viewed this as a personal slight which gave him a very dim view of West Pointers in the future,” says the American Battlefield Trust. He performed well in the coming days at Ezra Church and Jonesboro.

“Logan put on his politician hat in the fall of 1864, returning to his home state to campaign for Abraham Lincoln -- a marked contrast for the erstwhile Democrat,” the trust says. “In December, the major general returned to the field at the head of the Fifteenth Corps until the cessation of hostilities. He was given command of the Army of the Tennessee on May 23, 1865 -- just in time to lead it in the Grand Review in Washington, DC.”

Logan got back into politics, serving several terms in the U.S. House and Senate. He was an unsuccessful Republican vice presidential candidate in 1884 and was considered a front-runner in the upcoming presidential election. He died in 1886 at age 60 from the effects of rheumatism.

The artists made this sketch of Logan, other figures for the painting (AHC)

He also is remembered today as the father of Memorial Day, which began as Decoration Day in 1868. As head of the Grand Army of the Republic, Logan lobbied for a special day to commemorate America’s war dead.

Logan obviously is the star of the Cyclorama, given there are no recognizable Confederate officers during the fight at the Troup Hurt house.

The circular painting debuted in Minneapolis in June 1886, a few months before the general died, but there is no evidence that he saw it (Logan later in life, right. Library of Congress photo) .

Harper's Weekly illustrator Theodore R. Davis is responsible for Logan and DeGress being prominently depicted in the painting. Davis, who traveled with the Federal army, submitted an illustration and article for the publication about DeGress soon after the battle and served as an advisor to the artists in Milwaukee.

Jones, the AHC military historian, told the Picket that stories claiming Logan commissioned the painting to promote a political campaign amount to an untrue urban legend.

“The Battle of Atlanta was paid for by about 40 Chicago-area investors in the American Panorama Company. Logan had nothing to do with it,” said Jones.

“Theodore Davis ... was a personal friend of Logan and all the top brass of the Army of the Tennessee. He was the one who placed Logan so prominently in the foreground of the painting. Besides, having him there would give the painting celebrity star power and help sell tickets in the upper Midwest.”

Advertisement for painting when it was show in Minneapolis in 1886 (Picket photo)

Patrons at Atlanta museum will get engineer's view of restored locomotive Texas when exhibit opens in November

A view of the locomotive during an August tour

The steam locomotive Texas, a star of the Great Locomotive Chase and an emblem of Atlanta’s meteoric rebound after the Civil War, will be back on public display Nov. 17 for the first time in more than three years.

Patrons at the engine’s new home at the Atlanta History Center will enjoy a hands-on experience: They will be invited to step up to the cab and get the engineer’s view of the 1856 locomotive.

(All photographs by the Civil War Picket)

For the past 16 months, the Texas has been preening before motorists who glide past the history center on West Paces Ferry Road. The fastidiously restored engine, built for the Western & Atlantic Railroad, is lit up at night and rests in a new glass-fronted gallery that will lead patrons to the Battle of Atlanta cyclorama painting when it opens in February 2019.

Both artifacts were housed for more than 85 years in Grant Park, just south of downtown Atlanta. That building closed in summer 2015 after the city and the AHC announced the move of the treasures to the Buckhead neighborhood. The Texas arrived in May 2017 after getting a $500,000 makeover in Spencer, N.C.

The accompanying 1886 circular painting is undergoing a significant restoration in a new AHC wing that has a gallery connecting the Texas to cyclorama exhibits.

AHC officials announced last week that the Texas will be the cornerstone of “Locomotion: Railroads and the Making of Atlanta,” a permanent exhibition opening in November. They want to tell more than the story of its role in the Civil War, a switch from interpretation at Grant Park.

(Civil War Picket photos)

“The detailed exhibition accompanying the Texas will interpret the major role railroads played in transforming Atlanta into the transportation hub and commercial center it is today,” the AHC said in a press release. “The exhibition captures Atlanta's beginning, in 1837, when a surveyor drove a stake into the ground in a North Georgia forest previously inhabited by Native Americans. The stake marked the end point for the Western & Atlantic Railroad designed to run north to the Tennessee River near present-day Chattanooga.”

Texas will lead to cyclorama gallery

The new Rollins Gallery has the look of a railroad repair shop, with exposed steel girder columns and a brick wall.

While the Texas is most famous for running down a load of Union raiders and spies in April 1862, AHC officials have long stressed the engine tells a much larger story of the postwar growth of the city, and they decided to paint it in an 1886 scheme, rather than the bright colors it wore at Grant Park -- in part because its surviving parts date closer to that year than the Civil War.

Jim Wilke, a railroad historian in California who has done extensive research on locomotive and tender paint schemes, lauded the restoration of the Texas and the decision to interpret it two decades after the Civil War. "The parts of the engine that were original and running around in Georgia in the 1860s you could put in the back of a pickup truck."

Like the locomotive General, the object of the chase, the Texas was saved (in 1907) from the scrap heap. The General presides at the Southern Museum of Civil War and Locomotive History in Marietta, Ga. The Texas and General are the sole surviving locomotives of the Western & Atlantic, which played a large part in Atlanta’s early development.

“The Texas locomotive symbolizes Atlanta’s longtime relationship with railroads and the city’s importance as a hub for people, commerce, and ideas. No artifact can be more important for telling Atlanta’s origin story than this Western & Atlantic locomotive,” AHC CEO Sheffield Hale said in a statement.

New Jersey locomotive maker Danforth, Cooke & Co. manufactured the Texas in the 4-4-0 design (4 leading wheels, 4 driving wheels and 0 trailing wheels).

Wilke told the Picket that the engine is one of a few remaining from the 1850s and helps tell the evolution of American railroads. By the time the Texas was retired, it was dwarfed by larger and more powerful locomotives, he said. "This change was happening all over the nation."

(Civil War Picket photos)

The exhibit will include a circa 1900 waiting room bench, signage from a 1949 Pullman sleeping car, a 1940s operating signal from Atlanta’s Terminal Station, gate signs and Western Union telegraph signage and clocks.

Patrons also will learn about the experience of working on the railroad, segregation on the rails and the science and mechanics of a steam locomotive, the AHC said.