“Christmas Eve,” 1862 (Thomas Nast, Harper’s Weekly, Vol. 7, pp. 8-9, Christmas edition, 1862, public domain; click to enlarge).

When thinking about what life was like for the Pennsylvania volunteer soldiers who served their nation during the American Civil War, the influence of nineteenth century artists on their lives would likely not be the first thing that comes to mind. The orders they received from their superior officers in the Army and the “trickle down” effect of the directives issued by state and federal elected officials to those Union Army officers, yes, but visual artists? Probably not.

But artists and their artwork—paintings and illustrations created during and after the 1860s—did leave their mark on the psyches of soldiers in ways that were profoundly illuminating and long lasting.

Many of the most powerful artworks that were likely seen and reflected on by members of the 47th Pennsylvania Volunteer Infantry were those drawn by Thomas Nast (1840-1902), a native of Germany who had emigrated to the United States from Bavaria with his mother and siblings in 1846. He spent most of his formative years in New York City, where he took up drawing while still in school. As he aged, he came to view America as his homeland, but still grew up experiencing many German traditions—as had many 47th Pennsylvania Volunteers during their own formative years. (Company K, for example, was established in August 1861 as an “all-German company” of the 47th Pennsylvania.)

Nast’s first depiction of the Christmas season (shown above) was created for the cover and centerfold of the Christmas edition of Harper’s Weekly 1862, shortly after he was hired as a staff illustrator.

“Santa Claus in Camp,” 1863 (Thomas Nast, Harper’s Weekly, January 3, 1863, public domain; click to enlarge).

He then continued to create illustrations of Santa for Harper’s Weekly in subsequent years. According to journalist Lorraine Boissoneault:

You could call it the face that launched a thousand Christmas letters. Appearing on January 3, 1863, in the illustrated magazine Harper’s Weekly, two images cemented the nation’s obsession with a jolly old elf. The first drawing shows Santa distributing presents in a Union Army camp. Lest any reader question Santa’s allegiance in the Civil War, he wears a jacket patterned with stars and pants colored in stripes. In his hands, he holds a puppet toy with a rope around its neck, its features like those of Confederate president Jefferson Davis….

According to historians at Grant Cottage, “In 1868, newly elected 18th President U.S. Grant paid tribute to Thomas Nast by saying, ‘Two things elected me, the sword of Sheridan and the pencil of Thomas Nast.’”

As a result, members of the 47th Pennsylvania Volunteer Infantry had ample time to become well acquainted with Nast’s artistry and his support for their efforts, as part of the United States Army, to end the Civil War and preserve America’s Union. An ardent abolitionist, Nast also actively supported the federal government’s efforts to eradicate the brutal practice of chattel slavery.

Fort Taylor, Key West, Florida (Harper’s Weekly, 1864, public domain).

Nast’s first illustrations of Santa Claus and depictions of soldiers longing for family at Christmas would initially have been seen by 47th Pennsylvania Volunteers while they were stationed far from home at Fort Taylor in Key West, Florida—just two months after the regiment had sustained a shockingly high rate of casualties during the Battle of Pocotaligo, South Carolina on October 22, 1862. More than one hundred members of the regiment had been killed in action, mortally wounded, grievously wounded, or wounded less seriously, but still able to continue their service.

So terrible was the outcome that it would have been enough to make an impression even on individual 47th Pennsylvanians who hadn’t been wounded. They were not only now battle tested, they were battle scarred, according to comments made by individual members of the regiment in the letters they wrote to families and friends back home during that Christmas of 1862.

No matter how strong their capacity for overcoming adversity had been before that battle, their hearts and minds would never be the same. It would take time to heal and move forward—time they were given while stationed on garrison duty for more than a year.

Fort Jefferson (Harper’s Weekly, August 26, 1865, public domain; click to enlarge).

By the time that the American Civil War was ending its third year, the mental wounds of Pocotaligo were far less fresh than they had been the previous Christmas. Still stationed in Florida on garrison duty in 1863, the 47th Pennsylvania Volunteer Infantry was now a divided regiment. While slightly more than half of the regiment was still on duty at in Key West, as companies A, B, C, E, G, and I remained at Fort Taylor, the remaining members of the regiment—companies D, F, H, and K—were now even farther away from home—stationed at Fort Jefferson, the Union’s remote outpost that was situated so far off of Florida’s coast that it was accessible only by ship.

Letters penned to family and friends back in Pennsylvania during the early part of 1863 capture a sense of sadness and longing that pervaded the regiment—as 47th Pennsylvanians mourned the loss of their deceased comrades and thought about how deeply they missed their own families.

Gradually, as the year wore on, those feelings turned to acceptance of their respective losses and, eventually, frustration at still being assigned to garrison duty when they felt they could and should be helping the federal government bring a faster end to the war by defeating the Confederate States Army through enough tide-turning combat engagements that the Confederate States of America would finally surrender and agree to re-unify the nation.

By early 1864, the wish of those 47th Pennsylvanians was granted by senior Union Army officials. They were not only given the opportunity to return to combat, but to return to intense combat as a history-making regiment.

The only regiment from Pennsylvania to fight in the Union’s 1864 Red River Campaign across Louisiana, the 47th Pennsylvanians repeatedly displayed their valor as the blood of more and more of their comrades was spilled to eradicate slavery across the nation while also fighting to preserve the nation’s Union. By the fall of 1864, they were participating in such fierce, repeated battles across Virginia during Union Major-General Philip Sheridan’s 1864 Shenandoah Valley Campaign that President Abraham Lincoln was able to secure his reelection and the tide of the American Civil War was decisively turned in the federal government’s favor once and for all.

Ruins of Charleston, South Carolina as seen from the Circular Church, 1865 (U.S. National Archives and Records Administration, public domain).

By April 1865, the Confederate States Army had surrendered, the war was over and President Lincoln was gone, felled by an assassin’s bullet that had too easily found its target. So, once again, the 47th Pennsylvania Volunteers were in mourning.

Sent back to America’s Deep South that summer, they were assigned to Reconstruction duties in Savannah, Georgia and Charleston, South Carolina, where they helped to reestablish functioning local and state governments, rebuild shattered infrastructure, and reinvigorate a free press that was dedicated to supporting a unified nation—all while other Pennsylvania volunteer regiments were being mustered out and sent home.

Finally, after a long and storied period of service to their nation, the 47th Pennsylvania Veteran Volunteers were given their honorable discharge papers at Camp Cadwalader in Philadelphia, and were then sent home to their own family and friends in communities across Pennsylvania in early January 1866.

Return to Civilian Life

“Santa Claus and His Works,” 1866 (Thomas Nast, Harper’s Weekly, December 29, 1866, public domain; click to enlarge).

Attempting to regain some sense of normalcy as their post-war lives unfolded over the years between the late 1860s and the early 1900s, many of the surviving veterans of the 47th Pennsylvania Volunteer Infantry resumed the jobs they held prior to the war while others found new and better ways to make a living. Some became small business creators, pastors or other church officials, members of their local town councils or school boards, beloved doctors, or even inventors. One even became the lieutenant governor of the Commonwealth of Pennsylvania.

Most also married and began families, some small, some large. Still others made their way west—as far as the states of California and Washington—in search of fortune or, more commonly, places where war’s Grim Reaper would never find them again.

“‘Twas the Night Before Christmas,” 1866 (Thomas Nast, Harper’s Weekly, December 25, 1886, public domain; click to enlarge).

As the years rolled on, they saw more and more of Thomas Nast’s work as it was published in Harper’s Weekly, particularly at Christmas. But the Santa Claus of war was now transformed by Nast as the Saint Nicholas of his childhood in Germany—kind, altruistic, loving, and jolly.

Over time, those illustrations collectively formed the “mind pictures” that the majority of American children and adults experienced when they imagined Santa Claus. So powerful has Nast’s influence been that, even today, when Americans encounter the many variations of Santa used to promote products in Christmas advertising campaigns, they see images that are often based on Nast’s nineteenth century drawings—drawings that had their genesis as beacons of light and hope during one of the darkest times in America’s history.

Like Abraham Lincoln, Nast has been helping Americans to summon and follow “the better angels of our nature” for more than one hundred and sixty years. May the power of his art help us all continue to do so this year and for the remainder of our days.

Sources:

1. Boissoneault, Lorraine. “A Civil War Cartoonist Created the Modern Image of Santa Claus as Union Propaganda.” Washington, D.C.: Smithsonian Magazine, December 19, 2018.
2. “Drawn Together: The Friendship of U.S. Grant and Thomas Nast” (video). Wilton, New York: Grant Cottage, May 14, 2022.
3. “Santa Claus,” in “Thomas Nast.” Columbus, Ohio: University Libraries, The Ohio State University, retrieved online December 23, 2023.
4. “Santa Claus in Camp (from ‘Harper’s Weekly,’ vol. 7, p. 1).” New York, New York: The Met, retrieved online December 23, 2023.
5. Vinson, J. Chal. “Thomas Nast and the American Political Scene,” in American Quarterly, vol. 9, no. 3, Autumn 1957, pp. 337-344. Baltimore, Maryland: The Johns Hopkins University Press.