From Floods of the Tiber in Ancient Rome by Gregory S. Aldrete, pages 4-5. Copyright © The Johns Hopkins University Press, 2007.
“Promises,” from The Exchange Artist by Jane Kamensky.
When Charles Willson Peale painted former enslaved African American and Georgetown resident Yarrow Mamout in 1819, he was interested in his storied longevity.
Felix Nadar’s gelatin silver print on paper of Sarah Bernhardt in Le Baiser is among the holdings of the Bowdoin College Museum of Art.
Perched atop an English saddle and sporting leather riding boots in this 1913 pose, Saburo Shindo literally sits astride the cultural diversity that marked his life as a Hiroshima-born Nebraskan resta
Rosetta Tharpe never had Mahalia Jackson’s political cachet or her connection to the civil rights movement.
From New-York Daily Tribune, Wednesday, November 4, 1908
FOUR SHERMANS VOTE.
Vice-Presidential Candidate and Sons Go to Booth Together.
The most vivid, pervasive and influential version of the golem legend emerges from sixteenth-century Prague and is indelibly linked with Rabbi Loew (1525–1609), the famous spiritual leader of
Mad hatter tears worshipper's chapeau in two during Sunday service.
“A Killing Gentleman” by James M. Prichard delineates the carefully prescribed protocol of dueling in the April issue of Kentucky Humanities.
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