Items

• Flowers in Vase
  This watercolor of three flowers in a vase against a blue-gray was completed while Lillian was still a student at the Mechanics Institute. Between 1890-1891 water color painting and oil paintings were just starting to be introduced into the curriculum making her undated watercolor pieces early works from these days. In subject, method and tone, this painting calls
• Circular of Information
  The Circular of Information outlined the classes that people could attend for how much and the teachers and other staff members that were involved within the Rochester Athenaeum & Mechanics Institute. In this specific catalog, Pratt’s name was changed to M. Lillian Pratt Kinzel due to her marriage to George Kinzel. As a married, working women, Lillian was paid between 20 and 30 dollars, though its terms (length of contract and service) are unclear.
• Early Pratt Painting
  : Created in 1888 by M. Lillian Pratt Kinzel, this painting of Black Eyed Susans is done in Gouache on board, an inexpensive, thin, semi-rigid support created for use by students in schools, academies, or universities. Identified by a paper label this board was made by F. W. Devoe & Co a New York based purveyor of paints, canvas, and brushes. In the painting, Lillian used rather dark tones of tans and browns for the background and dark green for the leaves of the flowers. Even with the dark tones the painting calls to mind the concern of landscape that was prevalent among American Impressionists of the day.
• Techmila, 1985
  This picture is from Page 34 of the year book from 1985, it contains a picture of the RIT tiger mascot walking around on campus in 1985.
• Techmila, 1986
  Several images showing the RIT Tiger Dunk Tank, and a couple of pictures of RIT’s mascot walking around campus.
• RIT Spring Festival T-Shirt
  This shirt was used in 2009 for RIT’s Spring Festival, an event celebrating the end of the school year with a festival for people to have fun.
• “Anatomy of a proper RIT hair cut” T-shirt
  This shirt was designed by RIT Art and Design students in response to RIT’s president at the time, Al Simone, stating that he could tell the difference between the engineering students and the art students by their haircuts.
• RIT Towels
  Towels used by students to cheer for their teams during hockey games during 2005
• “Big Bash II” T-Shirt
  This shirt is from 1988 from an event called the Big Bash II, the second such event meant to bring students and teachers together to engage and interact with one another during a day of fun events and activities.
• Football Game Cheers circa 1972
  Pictured are three Cheerleaders cheering on the crowd while the 1972 football team is seated behind them. Their uniforms are different than their earlier counterparts with the Cheerleaders now sporting a dark sweater and shorter skirts. Located in the new Henrietta Campus, the girls cheer on their team through thick and thin!
• Cheerleaders posed around Spirit the Tiger circa 1963-64
  The Cheerleading Team from 1963-1964 posed around Spirit the Tiger in the RIT Gym. Spirit was a small tiger brought into RIT from 1963-64 who captured the hearts of the students and faculty. Since Spirit, the mascot has been solidified as the Tiger being the symbol of RIT.
• Cheerleaders in Action circa 1950's
  Two Cheerleaders are pictured performing cheers while onlookers watch from behind. Their sweaters are still resembling the 1950’s logo with the “R” and the megaphone which was the accepted logo for an extended time. Still located at RIT’s Downtown Campus, these ladies are cheering on their team inside of the gym.
• Full Cheerleading Squad circa 1951
  Shown is another Cheerleading Squad from 1951 also framed by two women holding megaphones. Pictured here is a larger group than the previous photo: (From left to right) Marino DeSimone, Dorothy Kenyon, June Higgs, Diane Ives, Anne Graves, Ann Lauer. This group has the updated insignia for the time embroidered on their sweaters. During the 1950’s the logo for the cheerleaders was updated to a single “R” with a megaphone in the background.
• Current RIT Seal
  The current official RIT seal, which has the highly limited use on official diplomas. This seal is incredibly similar to the RAMI seal of the 1930’s, featuring the same woman, shield, and slogan of “Art, Science, Industry”. Very minor changes have been made beyond the change in school name, primarily the border has been modified to exclude the most outer circle. The foundation date was also moved to below the logo rather than inside, and the font type changed to a bolder, sans-serif type.
• Reporter Magazine Nov. 10th 1967 Frontpage Article
  A front-page article that covered the results of the repeal case for the new graphic mark created by Roger Remington. The issue was tabled by the Senate until Remington’s appearance, who then went on to explain the logo and its design. Remington successfully defended his logo, and thus it remained official.
• RIT Graphic Mark Scarf
  In 1973, RIT decided to update the “square-notch” logo. The logo was re-designed to consist of multiple lines that created the same square shape of the previous logo with the corner cut out. The new logo design allowed for the use of alternate colors beyond the orange and brown previously used in the Roger Remington logo.
• Mary Anne Cross Ehasz’s Senior Banquet Mug
  Very small mug in stature, light tan colored with blue text on the front depicts the logo as well as “Senior Banquet, 1957.” The logo printed on the front is a reproduction of Mary Anne Cross’ logo which she designed before she graduated in 1956 with an A.A.S. Degree. This mug was given to Cross as a souvenir with a B.F.A Degree in 1957.
• Techmilla 1967
  RIT’s year book for the class of 1967. This includes a brief description of Frosh Daze, the new student orientation program at the time. As one would expect, there were several photographs of RIT graduates, many of which were from the Rochester area.
• Students Handbook of the Rochester Athenaeum and Mechanical Institute 1917-1918
  The Students Handbook of the classes offered at the Mechanics Institute during the school year of 1917-1918. Many of these classes were taught specifically to the service members training at the campus.
• Pamphlet entitled, "Of Interest to Girls Who are Busy All Day"
  This pamphlet calls for potential applicants to the Domestic Science Program through the appeal to independence, such as being able to sew one’s own clothes and cook one’s own meals.
• 1904 Commencement Pamphlet
  The 1904 Commencement Pamphlet lists the graduates of the Normal Class in Domestic Science and the Normal Class in Domestic Art, presenting a disparity between the number enrolled and the number graduated. In just the dressmaking course, there were 254 students enrolled for the 1903-1904 academic year. Yet, there were only 14 graduates for the Normal Course in Domestic Science and Art in 1904. This disparity may help unveil what life was like for a female student: perhaps they could not complete a full year of education or take multiple classes, or they did not wish to be trained in education within the normal courses. Since Bertha E. Butts is believed to have been enrolled in the dressmaking training class, a course outside of the Normal Class in Domestic Science and Art, she is not included in the commencement pamphlet.
• Department of Domestic Science Enrollment
  The Domestic Science Enrollment presents a list of numerical data, tracking how many students were enrolled in each course, such as sewing, cooking, millinery, and dressmaking over the years.
• Special Circular No. 4
  This item details the course information of the various programs offered through the Department of Domestic Science, including the dressmaking training course in which Bertha E. Butts is believed to have been enrolled in. The Department of Domestic Science and Art was split into three sections: General Courses, Certificate Courses, and the Normal Courses, which were geared towards women wanting to become teachers.
• Bertha E. Butts Dress
  This item is a dress sewn in 1904 by domestic science student Bertha E. Butts (1882-1963) while enrolled in a dressmaking class. The dress is full length, with quarter sleeves, lace detailing, and buttons. When the dress was given to the RIT Archives, it was accompanied with a label written by the donor, Mary Helen Joint, Bertha’s niece. The note states that the dress was sewn for graduation, but it is unknown if it was celebratory or a graduation requirement. Nonetheless, the beautifully sewn dress demonstrates Bertha’s skill at her craft, a skill which led her into seamstress work in Sodus after graduation.
• Bertha E. Butts Scrapbook
  This scrapbook contains the instructions, pencil drawings, and textiles for Bertha E. Butts’s dressmaking process in her course.