Tag Archives: Archives

Sister Elaine Wheeler’s Notebooks

This post is in celebration of Archives Month 2025.  American Archives Month is celebrated every October and is meant as a time for archivists to advocate for themselves, their profession, and for the importance of historical records and documentation as a mechanism of organization, shared history, and accountability.

When we give special tours to visitors, we will sometimes pull out a few special items from the collections that we think will impress them.  When other archivists visit, it becomes harder to impress.  We could pull out, say, a Christmas card from Teddy Roosevelt, but they would respond with something like, “So what, we all have something like this.”

Something that we can pull out to impress are Sister Elaine Wheeler’s notebooks.

Sister Elaine Wheeler's notebooks

In 1978, Sister Elaine was temporarily on mission in St. Louis, taking a course on Spirituality and Scripture Study, when she received a call from Sister Mary Basil Roarke, Visitatrix of the former Northeast Province at the time.  Sister Mary Basil asked her to “spend six months to a year setting up the archives for the Northeast Province [her home province in Albany, NY]?”  As a Daughter of Charity does, Sister Elaine accepted the ministry and then apparently said to herself, “You idiot, you don’t know a thing about archives.”

But, taking Sister Mary Basil’s advice to visit archives and take some workshops, she called upon her oldest sister, Sister Mary Cecelia Wheeler, archivist for the Religious Sisters of the Sacred Heart, conveniently also located in St. Louis.  Sister Mary Cecelia gave Sister Elaine her first lesson on archives, a lesson that Sister Elaine would pass on to many others – that there is the theoretical and the perfect in the archives, which is something to attain to, and that there is the practical and the real.

The five Wheeler Sisters
The five Wheeler Sisters: Sisters Elaine, Madeleine, Mary Cecilia (R.C.S.J.), Zoe, and Jean Marie

By Sister Elaine’s tally, she visited 17 repositories, took 16 workshops, and attended the Society of American Archivists conference 21 times over her 26 years as Archivist.  Her notebooks document not only her research, but a chapter of archival history in the late 1970s and early 1980s when communities of women religious began to establish formal archives for their communities and for outsiders. 

Sister Elaine Wheeler's description of what an archivist is and is not
What an Archivist is and is not, according to Sister Elaine

At the time, there were five provinces of the Daughters of Charity in the United States.  Not only did Sister Elaine help establish the archive for her home province, but she also worked with the other four provinces (the Southeast in Emmitsburg, MD; the East Central in Evansville, IN; the West Central in St. Louis, MO; and the West in Los Altos, CA) to help set up their own archives, establishing cataloging guidelines and starting an oral history project for sisters in the Northeast.  The archives of the different provinces met routinely for many years. Her work continues to exert influence on us here in Emmitsburg every single day!

Draft of Sister Elaine's acquisition policy
Draft of Sister Elaine’s acquisition guidelines

In addition to the Daughters’ collections, Sister Elaine took what she learned and applied it elsewhere.  She traveled to different hospitals under the Daughters’ orbit – usually the ministries that created the largest amounts of records – and provided workshops to ensure that the hospitals themselves were keeping records accurately to better administer patient care. 

Sister Elaine's diagram of religious archives
The world of religious archives, according to Sister Elaine

The reason that these notebooks remain a fascination to other archivists is because they reflect the same training that we all went through.  Sister Elaine learned about what an archival facility ideally would look like, how to determine what to accession and add to the collections, the importance of weeding collections to preserve space, and the necessity of good policies and procedures to ensure privacy where appropriate and yet still make the materials available.  Certainly, Sister Elaine’s training was a little less dependent on computer systems than ours today, but we still see the makings of all of our mentors and mentees in the field, and can see the place of Sisters going forth into the world reflected in the ministry of the Archives!

Sister Elaine Wheeler at her desk in the Archives
Sister Elaine processing in her office in 1990. You can see the steps in the archival process on her board behind her.

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Filed under Albany, Archives, Sister Elaine Wheeler

My archivist internship experience with the Daughters of Charity

This is a guest post by Andrew Cogswell, Mount St. Mary’s Class of 2025.

I recently completed a six-week internship with the Daughters of Charity Provincial Archives. Initially, I was introduced to the staff, some sisters, the general history of the Daughters of Charity, and learned what my tasks would be. My first project was compiling clippings of newspaper articles regarding the work of Daughters of Charity from 1998 to 2011 in Indiana. These articles were originally collected by staff at the Evansville campus and document the  sisters’ contributions in Indiana. Here I spent many hours cutting out articles, reading them, and putting them in folders based off their connection to the Daughters of Charity at their ministries in the area.

Tools and setup for my Newspaper project

This was only one of a few projects. My next main job was assisting with re-appraisal of artifacts that arrived when the current province was created. This specific task was quite fun, as I got to  see what lies within these cases of artifacts and learn about the material culture of the Daughters. In this project, I got to see what sisters deemed as important, including many relics of saints (Mostly St Vincent de Paul, St Louise de Marillac, and St Elizabeth Anne Seton.), and even artwork made by the sisters. Additionally, being able to catalog and appraise these artifacts feeds into my interest of museums and how they gather artifacts for display and preservation.

My next major task was transcribing an oral history interview from Sister Sandra Goldsborough. While the video of her interview was important, the transcription helps to make the interview far more usable for researchers in the future. While the transcription process took quite a few hours for a hour-long interview, it really showed at the heart what the Daughters of Charity is. Through the many trials and hardships Sr. Sandra faced, she never faltered on her duty or love to God. For her a challenge was just part of the condition of life that she was grateful for. Which being able to listen to this interview, showed me how true to her order and to Christ she really was.

Sister Sandra circa 1963 and in 2011

While in this internship I dealt with a few different types of archival work, I found a much greater reason in it all. Seeing the work of the Daughters of Charity in Evansville, viewing the artifacts they left behind, and listening to Sr. Sandra’s interview, I have come to the conclusion that these sisters truly live out their motto. Their motto being, “The Charity of Jesus Crucified Urges Us,” is clearly reflected in everything I saw, confirming their deep love for Christ and for others. That through massive changes in all their lives and the differences the church has gone through, they have not changed their core principles one bit. Each and every sister truly is a disciple of Christ and are truly an example of holiness. If anyone wants to learn about the archival world, see some cool artifacts, and more importantly learn about the Daughters of Charity’s impact, this is a great experience one should not pass up.

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The Art Collections at the Provincial Archives

Over the years, the Archives had acquired a number of framed materials, including paintings related to the Vincentian heritage, pieces created by Daughters of Charity, majestic portraits that hung on the walls of major ministries, or even copies of old photographs thrown into a frame.  Often, these were marked as being placed in the “art section” and then put on the to-do list. 

The problems with this system are obvious, as the art section is quite large, and eventually the time would came when something would need to be retrieved, forcing us to look far and wide, handle a larger number of artifacts, and create the potential for more damage, all while taking up more space and spreading our search over ever more items.

Eventually, we became frustrated with this, and instituted a formal project to inventory the artwork for the first time.  Every single piece was touched and examined, looking at its relevance, information that we had about how it came to the Archives, its medium, and its condition.  Some pieces were discarded as cheap copies of photographs that were placed in cheap frames and, more often, copies of photographs whose originals were in the collections already.  Other pieces required more research, as they did not obviously relate to our collection policy until we learned about the individual artist or the donor.



Thus, we present some examples of the major categories of framed artwork and some of our favorites.

Mother Seton and the Canonization Cause

The Seton family portraits (including her compatriots the Filicchi brothers), painted by Father Salvator Burgio, Vice-Postulator of her canonization cause, were created in the early 1950s to promote Mothe Seton’s canonization cause.  They include young, pre-community Mother Seton; her husband; the Filicchi brothers; her father; and her five children.

Vincentian Heritage

This pair of portraits, depicting both sides of the Miraculous Medal revealed to Saint Catherine Labouré, a Daughter of Charity in the Paris Seminary in 1830, came from the chapel at the original St. Vicnent’s Hospital – late DePaul Hospital – in Norfolk, Virginia.

Honorable Mention

Although the label by the artist is incorrect, it is still a very nice work.  This painting by Mary Eichelmann depicts the Motherhouse of the entire global community of the Daughters of Charity.  Located on the Rue du bac in Paris, it only became the Motherhouse after the deaths of Vincent and Louise and after the end of the chaos of the French Revolutionary Era.

Depictions of the Daughters

Despite not necessarily being related to the American Daughters, this print of a depiction of the Daughters nursing during the Crimean War shows the universal call to service the Daughters have had since their formation and has served as an inspiration for depictions of the Daughters in later conflicts, particularly during the era when they wore the cornette habit.

Daughters’ Artwork

Sister Maureen Beitman created this work to show the great women of the American Vincentian tradition and their unity in the heart of Jesus, St. Louise de Marillac and St. Elizabeth Ann Seton.  Sister Maureen titled this work Spirit into Infinity.

Honorable Mention

Sister Lucie Thai created this piece before she left Vietnam for the United States.  Taking only a few possessions with her to remind her of her homeland, she determined this to be the best example of her work and thus the one worth taking.  It was used as a model when taught girls and women in Vietnam how to craft and create, both as an artistic outlet and as a way to teach them a marketable skill.  It depicts Our Lady of La Vang.

Works from Ministries

President Eisenhower was a neighbor to the Daughters of sorts, with his Gettysburg farm being right up the road from the Daughters’ St. Joseph College.  After retiring, he took up painting, and gifted the College a self-portrait to return the favor for years of friendship and cooperation on social services in the District of Columbia. 

Honorable Mention

The Daughters’ ministry at Carville, Louisiana for those suffering from Hansen’s Disease – more commonly known as leprosy – is one of the most unique ministries the Daughters have undertaken in the history of this country.  It was a gift to Sister Dorothy Bachelot for her support of the Gillis W. Long National Hansen’s Disease Center and depicts the famous Southern Gothic architecture of the rural Louisiana hospital. 

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Filed under Archives, Artifacts