Few prominent Americans are as associated with a place as Thomas Jefferson is with Virginia. The heart of "Jefferson Country" is his house and plantation at Monticello, but Jefferson traveled the breadth of his home state, from his time at William & Mary in Williamsburg to the new state capital at Richmond and his retreat and plantation at Poplar Forest, near Lynchburg. In the beauty of the Blue Ridge Mountains, Jefferson was inspired to write his only book, Notes on the State of Virginia. Laura A. Macaluso demonstrates the many facets of the man, the scholar and the statesman in this guide to the Virginia he loved.
Historic Virginia: A Tour of the State’s Top 75 National Historic Landmarks is a carefully curated travel guide, written by a local historian, featuring the most intriguing and significant of the state's nationally recognized historic landmarks. This guide provides interesting anecdotes and color photography of famous churches, the homes of Founding Fathers, and monuments of natural splendor amid the Blue Ridge Mountains. Tour the Old Dominion State and travel back in time with Historic Virginia.
History is nurtured and treasured in the City of Alexandria and in neighboring South Fairfax County. A History Lover's Guide to Alexandria & South Fairfax County focuses on this special area along the Potomac River. Travel through history from Old Town to Mason's Neck and witness the practice of preservation as it continues to evolve today. Alexandria cares for the places essential to understanding our shared past, from cobblestone streets to the always active waterfront. Visit the numerous museums and historic houses, many of which are iconic in American history, in Old Town. Learn the stories of Alexandria's African American community, from slavery to freedom. Discover neighborhoods like Del Ray and Seminary Hill. South of the city, travel the George Washington Memorial Parkway and walk in the footsteps of Washington himself. Historian and preservationist Laura Macaluso draws connections between city and county, and between past and present.
During World War I, New Haven was a hive of wartime activity. The city hummed with munition production from the Winchester Repeating Arms Company, while food conservation campaigns, canning kitchens and book drives contributed to the war effort. Meanwhile, Walter Camp, father of American football, whipped recruits and city residents into shape with his fitness programs. The Knights of Columbus were also busy preparing their "Everyone Welcome! Everything Free!" huts. And one hero--a brown-and-white dog, Sergeant Stubby--first made his appearance at Camp Yale, home of the 102nd Regiment of the Yankee Division. Using library and museum collections, author Laura A. Macaluso demonstrates how the Elm City contributed its time and money, men and women and one special dog to the first global war of the twentieth century.
For more than two hundred years, New Haven, Connecticut, has had a particular proclivity for marking the passage of time. Residents of the Elm City celebrate their heritage in historic fashion, and they have carefully preserved fascinating relics from their city's past in local museums. Examine the first commemorative medal made for New Haven's 200th anniversary in 1838, which set the standard for Elm City celebrations. Other artifacts in the city's collections include a needlework picture mourning the death of George Washington, Noah Webster's dictionary notes for the letters "A" and "B" and the buckskin coat worn by explorer Henry Eld. Author Laura A. Macaluso chronicles the history of New Haven celebrations and prized artifacts in order to piece together the city's unique identity.
The Amistad incident, one of the few successful ship revolts in the history of enslavement, has been discussed by historians for decades, even becoming the subject of a Steven Spielberg film in 1997, which brought the story to wide audiences. But, while historians have examined the Amistad case for its role in the long history of the Atlantic, the United States and slavery, there is an oil on canvas painting of one man, Cinqué, at the center of this story, an image so crucial to the continual retelling and memorialization of the Amistad story, it is difficult to think about the Amistad and not think of this image. Visual and material culture about the Amistad in the form of paintings, prints, monuments, memorials, museum exhibits, quilts and banners, began production in the late summer of 1839 and has not yet ceased. Art of the Amistad and The Portrait of Cinqué is the first book to survey in total these Amistad inspired images and related objects, and to find in them shared ideals and cultural creations, but also divergent applications of the story based on intended audience and local context. Tracing the revolutionary creation of what art historian Stephen Eisenman calls “a highly individualized, noble portrait of an African man,” Art of the Amistad and The Portrait of Cinqué is built around visual and material culture, and thus does not use images merely as illustration, but tells its story through the wide range of images and materials presented. While the Portrait of Cinqué seems to sit quietly behind Plexiglass at a local history museum, the impact of this 175-year old painting is palpable; very few portraits from the 19th century—let alone a portrait of a black man—remain a relevant part of culture as the Portrait of Cinqué continues to be today. Art of the Amistad the Portrait of Cinqué is about the art and artifacts that continue to inform and inspire our understanding of transatlantic history—a journey 175 years in the making.
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