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Columbus State University Collection (MC 5)&#13;
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Columbus State University Collection (MC 5)&#13;
Columbus State University Archives&#13;
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Columbus State University Collection (MC 5)&#13;
Columbus State University Archives&#13;
Columbus, Georgia&#13;
&#13;
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Columbus State University Collection (MC 5)&#13;
Columbus State University Archives&#13;
Columbus, Georgia&#13;
&#13;
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&#13;
Columbus State University Collection (MC 5)&#13;
Columbus State University Archives&#13;
Columbus, Georgia&#13;
&#13;
Columbus State University Archives does not claim to control the rights of reproducing for all materials in the collection. The publishing party assumes all responsibility for clearing reproduction rights and for any infringement of the U. S. Copyright Code and agrees to indemnify and hold harmless Columbus State University, its officers, employees, and agents from and against all suits, claims, actions, and expenses.</text>
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Columbus State University Collection (MC 5)&#13;
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Columbus State University Collection (MC 5)&#13;
Columbus State University Archives&#13;
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Columbus State University Collection (MC 5)&#13;
Columbus State University Archives&#13;
Columbus, Georgia&#13;
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Columbus State University Collection (MC 5)&#13;
Columbus State University Archives&#13;
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Columbus State University Collection (MC 5)&#13;
Columbus State University Archives&#13;
Columbus, Georgia&#13;
&#13;
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Columbus State University Collection (MC 5)&#13;
Columbus State University Archives&#13;
Columbus, Georgia&#13;
&#13;
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Columbus State University Collection (MC 5)&#13;
Columbus State University Archives&#13;
Columbus, Georgia&#13;
&#13;
Columbus State University Archives does not claim to control the rights of reproducing for all materials in the collection. The publishing party assumes all responsibility for clearing reproduction rights and for any infringement of the U. S. Copyright Code and agrees to indemnify and hold harmless Columbus State University, its officers, employees, and agents from and against all suits, claims, actions, and expenses.</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                  <text>c. 1880s - 1970s</text>
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              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
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                  <text>By accessing the CSU Digital Archives, the user agrees to give proper acknowledgement to the CSU Archives and further agrees to secure permission in advance from the CSU Archives to publish any item in any way, in whole or in part, from its collections. The Archives preferred citation is:&#13;
&#13;
Phenix City Historical Photograph Collection (SMC 152)&#13;
Columbus State University Archives&#13;
Columbus, Georgia&#13;
&#13;
Columbus State University Archives does not claim to control the rights of reproducing for all materials in the collection. The publishing party assumes all responsibility for clearing reproduction rights and for any infringement of the U. S. Copyright Code and agrees to indemnify and hold harmless Columbus State University, its officers, employees, and agents from and against all suits, claims, actions, and expenses.</text>
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                  <text>Photographs of life in Phenix City, Alabama and Columbus, Georgia. Photographs include businesses, churches, and the trouble of Phenix City in the 1950s. </text>
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      <name>Still Image</name>
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                <text>Unidentified Youth in soapbox car</text>
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            <name>Rights Holder</name>
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                <text>Permission to publish material from the Phenix City Historical Photo Collection (SMC 152) must be obtained from the Columbus State University Archives at Columbus State University. Use of the following credit line for publication or exhibit is required:&#13;
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Historic Phenix City Photos Collection (SMC 152)&#13;
Columbus State University Archives&#13;
Columbus, Georgia</text>
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              <name>Identifier</name>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Royal Crown Cola Collection</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>This collection consitist of materials from all aspect's operations of the Royal Crown Company. This includes company histories, publicity photographs, marketing and advertising, brand packets, and internal newsletters and correspondence. Brands owned by the R.C. Cola Company included RC, CHero-Cola, Diet Rite, Nehi, Ginger Ale, Gatorade, and Snaple. </text>
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            <name>Identifier</name>
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                <text>MC204-1-2-9-003</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Uniform Order form; J.R. Nelson</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>A letter from J.R. Nelson regarding uniform order form to service men. </text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1954</text>
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                  <text>Columbus State University Collection (MC 5)</text>
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              <name>Description</name>
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                  <text>The CSU Collection consist of over 150 linear feet of material and is arranged into 14 separate Record Groups. Each Record Group reflects the Columbus State University's organizational hierarchy with minor variations being made to facilitate future accessions. Materials in the collection document the rich and proud tradition of education and public service of Columbus College/Columbus State University, 1958 - present. </text>
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                  <text>http://archives.columbusstate.edu/findingaids/mc5.php</text>
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              <name>Rights</name>
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                  <text>By accessing the CSU Digital Archives, the user agrees to give proper acknowledgement to the CSU Archives and further agrees to secure permission in advance from the CSU Archives to publish any item in any way, in whole or in part, from its collections. The Archives preferred citation is:&#13;
&#13;
Columbus State University Collection (MC 5)&#13;
Columbus State University Archives&#13;
Columbus, Georgia&#13;
&#13;
Columbus State University Archives does not claim to control the rights of reproducing for all materials in the collection. The publishing party assumes all responsibility for clearing reproduction rights and for any infringement of the U. S. Copyright Code and agrees to indemnify and hold harmless Columbus State University, its officers, employees, and agents from and against all suits, claims, actions, and expenses.</text>
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&#13;
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="23150">
                <text>By accessing the CSU Digital Archives, the user agrees to give proper acknowledgement to the CSU Archives and further agrees to secure permission in advance from the CSU Archives to publish any item in any way, in whole or in part, from its collections. The Archives preferred citation is:&#13;
&#13;
Columbus State University Collection (MC 5)&#13;
Columbus State University Archives&#13;
Columbus, Georgia&#13;
&#13;
Columbus State University Archives does not claim to control the rights of reproducing for all materials in the collection. The publishing party assumes all responsibility for clearing reproduction rights and for any infringement of the U. S. Copyright Code and agrees to indemnify and hold harmless Columbus State University, its officers, employees, and agents from and against all suits, claims, actions, and expenses.</text>
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                  <text>Prince Hall Freemasonry began in the late eighteenth century when a group of free black men, led by Prince Hall (d. 1807), petitioned and were made members of a Masonic lodge attached to an Irish regiment stationed in Boston, Massachusetts. By 1784 the group had formed their own lodge and received a charter from the Grand Lodge of England. Since that time, Prince Hall Affiliated Freemasonry, with a predominantly black membership, has developed in a parallel evolution with so-called mainstream (i.e., predominantly white) Freemasonry in the United States. This is the case with the affiliated and appendant bodies as well, such as the Scottish Rite, York Rite, Eastern Star, and Shriners.&#13;
&#13;
The first Prince Hall Masonic Lodge established in Columbus was Bradwell Lodge no. 4 (now Lewis Hayden Lodge no. 6) on 24 June 1871. Since 1871 seven additional lodges, as well as three Chapters of the Order of Eastern Star, have been established in Columbus. Many pillars of the community have belonged to Prince Hall Masonic bodies in the Columbus area. Martin Luther King, Jr., gave a speech at the Prince Hall building in July 1958.</text>
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            <name>Identifier</name>
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            <name>Title</name>
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                <text>Group of unknown men posing in their robes and regalia. Possibly the United Supreme Council, Scottish Rite</text>
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                  <text>The CSU Collection consist of over 150 linear feet of material and is arranged into 14 separate Record Groups. Each Record Group reflects the Columbus State University's organizational hierarchy with minor variations being made to facilitate future accessions. Materials in the collection document the rich and proud tradition of education and public service of Columbus College/Columbus State University, 1958 - present. </text>
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Columbus State University Collection (MC 5)&#13;
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Columbus State University Collection (MC 5)&#13;
Columbus State University Archives&#13;
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                  <text>   Pasaquan is an internationally renowned art environment located in Buena Vista, Georgia, some thirty miles southeast of Columbus. It is situated on seven acres of gently rolling property and is comprised of six buildings encircled and interconnected by nearly four acres of masonry walls. Buildings and structures at Pasaquan are characterized by highly idiosyncratic construction methods and decorative motifs, largely executed in masonry bas-relief which has been painted in a wildly colourful palette. &#13;
&#13;
   Pasaquan is the passionate life's work of an eccentric artist named Eddie Owens Martin (July 4, 1908- April 16, 1986) who later adopted the moniker of St. EOM. Over the course of some thirty years, in various campaigns and with what materials were available to him, St. EOM transformed a small, rural farmhouse he inherited from his mother into a rambling estate resplendently decorated with motifs and forms representing his visionary ideal. In an article on the outsider artist, Tom Patterson describes Pasaquan as "one of the most remarkable folk art environments in America – a sort of mock pre-Columbian psychedelic wonderland of brightly painted totems, curved and angled walls and walkways, and wildly ornamented structures that [Martin] called "temples" and "pagodas." &#13;
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&#13;
   Financial records include routine bills such as utility bills; auto repairs; purchases at Sears; bills for mail-order purchases of supplies for his art; bills of sale for his crops to Tom's Peanuts; cotton factors and other buyers; insurance coverage and property tax payments.  In the case of bills from the Blessing Oil Company of Brooklyn, which supplied him with the oils used in various rituals he performed as part of his fortune-telling practice, a decision was made to include them in the Correspondence since Martin developed a personal relationship with the vendors there.&#13;
&#13;
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              <description>Information about rights held in and over the resource</description>
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&#13;
Pasaquan Collection (MC 327)&#13;
Columbus State University Archives&#13;
Columbus, Georgia&#13;
&#13;
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&#13;
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                  <text>   Pasaquan is an internationally renowned art environment located in Buena Vista, Georgia, some thirty miles southeast of Columbus. It is situated on seven acres of gently rolling property and is comprised of six buildings encircled and interconnected by nearly four acres of masonry walls. Buildings and structures at Pasaquan are characterized by highly idiosyncratic construction methods and decorative motifs, largely executed in masonry bas-relief which has been painted in a wildly colourful palette. &#13;
&#13;
   Pasaquan is the passionate life's work of an eccentric artist named Eddie Owens Martin (July 4, 1908- April 16, 1986) who later adopted the moniker of St. EOM. Over the course of some thirty years, in various campaigns and with what materials were available to him, St. EOM transformed a small, rural farmhouse he inherited from his mother into a rambling estate resplendently decorated with motifs and forms representing his visionary ideal. In an article on the outsider artist, Tom Patterson describes Pasaquan as "one of the most remarkable folk art environments in America – a sort of mock pre-Columbian psychedelic wonderland of brightly painted totems, curved and angled walls and walkways, and wildly ornamented structures that [Martin] called "temples" and "pagodas." &#13;
&#13;
   The site was listed on the National Register of Historic Places in 2008. A complete restoration of the site was  completed by the Kohler Foundation in 2016. The site is currently under the stewardship of Columbus State University and the Columbus State University Foundation. &#13;
&#13;
   The Pasaquan Collection is comprised of a rich variety of resources regarding not only St. EOM's creation of Pasaquan, but also the thirty year-long preservation effort of various groups and individuals (most notably the Pasaquan Preservation Society) and the recent restoration completed by the Kohler Foundation. These materials are divided into sections based upon type and subject matter. &#13;
&#13;
   Textual resources are divided into two sections: Correspondence and Financial Records. Correspondence relates largely to St. EOM's art exhibition and sales, as well as his family and personal matters. Included here are letters to his brother Joe, a note from Rosalyn Carter about an 1978 exhibit of St. EOM's art in Washington, D.C., and letters from people seeking his fortune-telling expertise and bestowal of luck in various situations.  There is a separate folder for his medical issues.  There are also letters concerning films, photographs and slides of his house, grounds and artwork.  In most cases the images are not with the letters but are probably among the loose films, slides and photos.  Martin and many of his correspondents were erratic in the use of dates.  In general the correspondence is in chronological order.  If an undated letter is with an envelope, and the postmark is legible, that date is written on the letter in brackets and is used for filing.  Undated material is grouped without order at the end of the series.  Envelopes without contents are filed by postmark.&#13;
&#13;
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&#13;
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&#13;
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                  <text>   Pasaquan is an internationally renowned art environment located in Buena Vista, Georgia, some thirty miles southeast of Columbus. It is situated on seven acres of gently rolling property and is comprised of six buildings encircled and interconnected by nearly four acres of masonry walls. Buildings and structures at Pasaquan are characterized by highly idiosyncratic construction methods and decorative motifs, largely executed in masonry bas-relief which has been painted in a wildly colourful palette. &#13;
&#13;
   Pasaquan is the passionate life's work of an eccentric artist named Eddie Owens Martin (July 4, 1908- April 16, 1986) who later adopted the moniker of St. EOM. Over the course of some thirty years, in various campaigns and with what materials were available to him, St. EOM transformed a small, rural farmhouse he inherited from his mother into a rambling estate resplendently decorated with motifs and forms representing his visionary ideal. In an article on the outsider artist, Tom Patterson describes Pasaquan as "one of the most remarkable folk art environments in America – a sort of mock pre-Columbian psychedelic wonderland of brightly painted totems, curved and angled walls and walkways, and wildly ornamented structures that [Martin] called "temples" and "pagodas." &#13;
&#13;
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&#13;
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&#13;
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&#13;
   Financial records include routine bills such as utility bills; auto repairs; purchases at Sears; bills for mail-order purchases of supplies for his art; bills of sale for his crops to Tom's Peanuts; cotton factors and other buyers; insurance coverage and property tax payments.  In the case of bills from the Blessing Oil Company of Brooklyn, which supplied him with the oils used in various rituals he performed as part of his fortune-telling practice, a decision was made to include them in the Correspondence since Martin developed a personal relationship with the vendors there.&#13;
&#13;
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&#13;
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Pasaquan Collection (MC 327)&#13;
Columbus State University Archives&#13;
Columbus, Georgia&#13;
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                  <text>   Pasaquan is an internationally renowned art environment located in Buena Vista, Georgia, some thirty miles southeast of Columbus. It is situated on seven acres of gently rolling property and is comprised of six buildings encircled and interconnected by nearly four acres of masonry walls. Buildings and structures at Pasaquan are characterized by highly idiosyncratic construction methods and decorative motifs, largely executed in masonry bas-relief which has been painted in a wildly colourful palette. &#13;
&#13;
   Pasaquan is the passionate life's work of an eccentric artist named Eddie Owens Martin (July 4, 1908- April 16, 1986) who later adopted the moniker of St. EOM. Over the course of some thirty years, in various campaigns and with what materials were available to him, St. EOM transformed a small, rural farmhouse he inherited from his mother into a rambling estate resplendently decorated with motifs and forms representing his visionary ideal. In an article on the outsider artist, Tom Patterson describes Pasaquan as "one of the most remarkable folk art environments in America – a sort of mock pre-Columbian psychedelic wonderland of brightly painted totems, curved and angled walls and walkways, and wildly ornamented structures that [Martin] called "temples" and "pagodas." &#13;
&#13;
   The site was listed on the National Register of Historic Places in 2008. A complete restoration of the site was  completed by the Kohler Foundation in 2016. The site is currently under the stewardship of Columbus State University and the Columbus State University Foundation. &#13;
&#13;
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&#13;
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&#13;
   The records of the Pasaquan Preservation Society, including minutes, visitors books, financial records and other materials documenting their 20 year existence as the managers of the site and its contents, are treated as a separate collection (MC 368).&#13;
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&#13;
Pasaquan Collection (MC 327)&#13;
Columbus State University Archives&#13;
Columbus, Georgia&#13;
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&#13;
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                  <text>   Pasaquan is an internationally renowned art environment located in Buena Vista, Georgia, some thirty miles southeast of Columbus. It is situated on seven acres of gently rolling property and is comprised of six buildings encircled and interconnected by nearly four acres of masonry walls. Buildings and structures at Pasaquan are characterized by highly idiosyncratic construction methods and decorative motifs, largely executed in masonry bas-relief which has been painted in a wildly colourful palette. &#13;
&#13;
   Pasaquan is the passionate life's work of an eccentric artist named Eddie Owens Martin (July 4, 1908- April 16, 1986) who later adopted the moniker of St. EOM. Over the course of some thirty years, in various campaigns and with what materials were available to him, St. EOM transformed a small, rural farmhouse he inherited from his mother into a rambling estate resplendently decorated with motifs and forms representing his visionary ideal. In an article on the outsider artist, Tom Patterson describes Pasaquan as "one of the most remarkable folk art environments in America – a sort of mock pre-Columbian psychedelic wonderland of brightly painted totems, curved and angled walls and walkways, and wildly ornamented structures that [Martin] called "temples" and "pagodas." &#13;
&#13;
   The site was listed on the National Register of Historic Places in 2008. A complete restoration of the site was  completed by the Kohler Foundation in 2016. The site is currently under the stewardship of Columbus State University and the Columbus State University Foundation. &#13;
&#13;
   The Pasaquan Collection is comprised of a rich variety of resources regarding not only St. EOM's creation of Pasaquan, but also the thirty year-long preservation effort of various groups and individuals (most notably the Pasaquan Preservation Society) and the recent restoration completed by the Kohler Foundation. These materials are divided into sections based upon type and subject matter. &#13;
&#13;
   Textual resources are divided into two sections: Correspondence and Financial Records. Correspondence relates largely to St. EOM's art exhibition and sales, as well as his family and personal matters. Included here are letters to his brother Joe, a note from Rosalyn Carter about an 1978 exhibit of St. EOM's art in Washington, D.C., and letters from people seeking his fortune-telling expertise and bestowal of luck in various situations.  There is a separate folder for his medical issues.  There are also letters concerning films, photographs and slides of his house, grounds and artwork.  In most cases the images are not with the letters but are probably among the loose films, slides and photos.  Martin and many of his correspondents were erratic in the use of dates.  In general the correspondence is in chronological order.  If an undated letter is with an envelope, and the postmark is legible, that date is written on the letter in brackets and is used for filing.  Undated material is grouped without order at the end of the series.  Envelopes without contents are filed by postmark.&#13;
&#13;
   Financial records include routine bills such as utility bills; auto repairs; purchases at Sears; bills for mail-order purchases of supplies for his art; bills of sale for his crops to Tom's Peanuts; cotton factors and other buyers; insurance coverage and property tax payments.  In the case of bills from the Blessing Oil Company of Brooklyn, which supplied him with the oils used in various rituals he performed as part of his fortune-telling practice, a decision was made to include them in the Correspondence since Martin developed a personal relationship with the vendors there.&#13;
&#13;
   The records of the Pasaquan Preservation Society, including minutes, visitors books, financial records and other materials documenting their 20 year existence as the managers of the site and its contents, are treated as a separate collection (MC 368).&#13;
&#13;
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                  <text>Permission to Publish&#13;
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&#13;
Pasaquan Collection (MC 327)&#13;
Columbus State University Archives&#13;
Columbus, Georgia&#13;
&#13;
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&#13;
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                  <text>   Pasaquan is an internationally renowned art environment located in Buena Vista, Georgia, some thirty miles southeast of Columbus. It is situated on seven acres of gently rolling property and is comprised of six buildings encircled and interconnected by nearly four acres of masonry walls. Buildings and structures at Pasaquan are characterized by highly idiosyncratic construction methods and decorative motifs, largely executed in masonry bas-relief which has been painted in a wildly colourful palette. &#13;
&#13;
   Pasaquan is the passionate life's work of an eccentric artist named Eddie Owens Martin (July 4, 1908- April 16, 1986) who later adopted the moniker of St. EOM. Over the course of some thirty years, in various campaigns and with what materials were available to him, St. EOM transformed a small, rural farmhouse he inherited from his mother into a rambling estate resplendently decorated with motifs and forms representing his visionary ideal. In an article on the outsider artist, Tom Patterson describes Pasaquan as "one of the most remarkable folk art environments in America – a sort of mock pre-Columbian psychedelic wonderland of brightly painted totems, curved and angled walls and walkways, and wildly ornamented structures that [Martin] called "temples" and "pagodas." &#13;
&#13;
   The site was listed on the National Register of Historic Places in 2008. A complete restoration of the site was  completed by the Kohler Foundation in 2016. The site is currently under the stewardship of Columbus State University and the Columbus State University Foundation. &#13;
&#13;
   The Pasaquan Collection is comprised of a rich variety of resources regarding not only St. EOM's creation of Pasaquan, but also the thirty year-long preservation effort of various groups and individuals (most notably the Pasaquan Preservation Society) and the recent restoration completed by the Kohler Foundation. These materials are divided into sections based upon type and subject matter. &#13;
&#13;
   Textual resources are divided into two sections: Correspondence and Financial Records. Correspondence relates largely to St. EOM's art exhibition and sales, as well as his family and personal matters. Included here are letters to his brother Joe, a note from Rosalyn Carter about an 1978 exhibit of St. EOM's art in Washington, D.C., and letters from people seeking his fortune-telling expertise and bestowal of luck in various situations.  There is a separate folder for his medical issues.  There are also letters concerning films, photographs and slides of his house, grounds and artwork.  In most cases the images are not with the letters but are probably among the loose films, slides and photos.  Martin and many of his correspondents were erratic in the use of dates.  In general the correspondence is in chronological order.  If an undated letter is with an envelope, and the postmark is legible, that date is written on the letter in brackets and is used for filing.  Undated material is grouped without order at the end of the series.  Envelopes without contents are filed by postmark.&#13;
&#13;
   Financial records include routine bills such as utility bills; auto repairs; purchases at Sears; bills for mail-order purchases of supplies for his art; bills of sale for his crops to Tom's Peanuts; cotton factors and other buyers; insurance coverage and property tax payments.  In the case of bills from the Blessing Oil Company of Brooklyn, which supplied him with the oils used in various rituals he performed as part of his fortune-telling practice, a decision was made to include them in the Correspondence since Martin developed a personal relationship with the vendors there.&#13;
&#13;
   The records of the Pasaquan Preservation Society, including minutes, visitors books, financial records and other materials documenting their 20 year existence as the managers of the site and its contents, are treated as a separate collection (MC 368).&#13;
&#13;
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&#13;
Pasaquan Collection (MC 327)&#13;
Columbus State University Archives&#13;
Columbus, Georgia&#13;
&#13;
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&#13;
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