5 10 101 https://mirrorofrace.bc.edu/files/original/57be14dcd684817e4fe61082797c59a6.jpg 8f2fb15372af6c5edfee393cd7503252 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Coming to America Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Exhibition Name Name of the exhibition in which the item appears Coming to America Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Carte de visite Factual Commentary Factual Commentary The two chidden, probably no more than 10 years old, seem to be Irish dancers. The pose in costume, in position to perform. The photographer has provided an elaborate painted backdrop of the interior of a rustic cottage to evoke old Ireland, complete with a jug on the floor. This suggests some serious planning, and expense, for this portrait, and these two may have been professional sibling performers. The boy’s costume is particularly distinctive, with a stylized top hat, swallow-tailed jacket, knee breeches, and a shillalagh. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Figure 3 Title A name given to the resource Irish dancers Subject The topic of the resource Irish dancer Creator An entity primarily responsible for making the resource Jason L. Warner (New York, New York) Date A point or period of time associated with an event in the lifecycle of the resource 1860s Type The nature or genre of the resource Studio Portrait Rights Holder A person or organization owning or managing rights over the resource. Gregory Fried Collection https://mirrorofrace.bc.edu/files/original/ca1c897893ad3fe3d9c8e05282d02a37.tif f8cd1aa36bac50257fc1163b92e56c65 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Slaves in Black and White Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Exhibition Name Name of the exhibition in which the item appears Slaves in Black and White Original Format The type of object, such as painting, sculpture, paper, photo, and additional data carte de visite, albumen print Factual Commentary Factual Commentary Isaac White and Rosina Downs pose in this portrait. The subtitle of the caption calls them “Emancipated slave Children, from the Free Schools of Louisiana,” emphasizing both the political reality of the effects of the Emancipation Proclamation of January 1, 1863 and the policy goal of educating the now free people of the occupied territory of the Confederacy. Once again, the photographer, in this case Myron H. Kimball, has sought to produce a shock by placing a matching pair of the “blackest” and the “whitest” of the children together. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Figure 8 Title A name given to the resource Isaac and Rosa Subject The topic of the resource Isaac and Rosa Creator An entity primarily responsible for making the resource Myron H. Kimball (New York) Date A point or period of time associated with an event in the lifecycle of the resource 1863 Type The nature or genre of the resource Studio Portrait Rights Holder A person or organization owning or managing rights over the resource. Greg French Collection https://mirrorofrace.bc.edu/files/original/d562b1373b54044c0abc347f1810d723.tif f8cd1aa36bac50257fc1163b92e56c65 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mirror of Race Subject The topic of the resource Mirror of Race Main Collection Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data carte de visite: albumen print Physical Dimensions The actual physical size of the original image cdv standard Factual Commentary Factual Commentary The caption on this photograph reads in part: “ISAAC and ROSA, Emancipated slave Children, from the Free Schools of Louisiana. Photographed by Kimball, 477 Broadway, N. Y. Ent’d accord’g to act of Congress in the year 1863...”Printed text on the back of the card reads: “The proceeds from the sale of these Photographs will be devoted exclusively to the education of colored people in the Department of the Gulf, now under the command of Major-General Banks.” This portrait forms part of a series of portraits of a group of former slaves who toured in the North during the Civil War. They were photographed and featured in newspaper articles to bolster support for the war and to raise funds for schools and other support for emancipated slaves. Interpretive Commentary Interpretive Commentary This image, as well as the others in the series of photographs of emancipated slaves who toured the North during the Civil War, raise questions about the use of photography as a means of persuasion. These images are a very early example of photography employed as propaganda. As prints from glass plate negatives, they could be reproduced and distributed widely. But what role did the subjects of these portraits play in this process? Did they choose freely to engage in it, or was this a new form of exploitation? What about the use of children? Did they participate willingly in the long studio sessions? Were they paid? Furthermore, the photographs often employ children who look very white, some of whom could certainly pass for white. Several of the captions explicitly refer to this. Were the makers trying to shock the Northern audience and get them to see the arbitrariness of the color line, or was this a further form of exploitation, using the viewers' identification with their own whiteness to sympathize with the subjects of the photographs? For essays that address these and related themes on the Mirror of Race website, see "'As White as their Masters': Visualizing the Color Line", by Carol Goodman and "A White Slave Girl: "Mulatto Raised by Charles Sumner'", by Joan Gage. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Figure031 Title A name given to the resource Isaac and Rosa Subject The topic of the resource Isaac and Rosa Date A point or period of time associated with an event in the lifecycle of the resource 1863 Type The nature or genre of the resource studio portrait, social-political Rights Holder A person or organization owning or managing rights over the resource. Greg French Collection Creator An entity primarily responsible for making the resource Kimball (dates Unknown Photographer Photographer) https://mirrorofrace.bc.edu/files/original/b37aef2bde0f8141542b00513934112d.tif 7624353e7db127a60cb12fc538aef31c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mirror of Race Subject The topic of the resource Mirror of Race Main Collection Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data carte de visite: albumen print Physical Dimensions The actual physical size of the original image cdv standard, mounted in album page Factual Commentary Factual Commentary Inscribed in period pen on reverse of this carte de visite (circa 1864) is the name “James M. Trotter.” Also inscribed, in period pen on the album page: “James M. Trotter Sergeant 55th Mass.” See image below. There is a printed stamp on the reverse of card, which reads: “Whipple, 297 Washington Street, Boston.” Also present on reverse of card is a 3-cent tax stamp signed in pen “JAW” (John A. Whipple). See below for the back of the card. We can date the image to the period of August 1864 to August of 1866 because the US government required the use of these stamps during that time for the collection of revenue to support the war. According to his enlistment papers (Greg French collection), James Monroe Trotter enlisted on June 11, 1863 and was mustered into company K of the 55th Massachusetts Infantry on June 23, 1863 as a 1st Sergeant. The 55th, like the more famous 54th, was designated as a Colored regiment. Trotter was promoted to Sergeant Major on Nov. 19, 1863 and to 2nd Lieutenant on April 10, 1864. In the photograph, Trotter wears the uniform and officer’s shoulder straps of a 2nd Lieutenant. The image is remarkable for the rarity of African Americans serving as officers in the Union armies, and the even greater rarity of this being documented in a photograph. Trotter was born February 7, 1842 and died Feb. 26, 1892 in Hyde Park, Massachusetts. According to the muster rolls, he was born in Grand Gulf, Mississippi, and enrolled in the Union army in Readville, Massachusetts. His profession is listed as school teacher. He was wounded at the battle of Honey Hill on Nov. 30, 1864. An interesting feature of his enlistment papers is the following remark: “Letters to be directed to Robert Thomas, Parlersburg, Wood Co., Virginia (guardian).” This image reportedly came from the personal album of the French nobleman, the Count de Gasparin, who was sympathetic to the abolitionist cause. James A. Whipple was one of Boston’s leading photographers from 1845 to 1874. Interpretive Commentary Interpretive Commentary There is much that is remarkable about James M. Trotter. Born into slavery, he was one of the first Americans of African descent to attain rank as an officer in the United States army, having fought in the Civil War. He went on to have a career as an author, civil rights advocate, and a public servant. His son, William Monroe Trotter (1872-1934), became an important newspaperman in Boston and a civil rights champion in his own right, helping to found the National Association for the Advancement of Colored People with W.E.B. Du Bois in 1909. An elementary school in Boston, the Trotter Innovation School, is named after William Trotter. The Mirror of Race has published an essay by Erina Duganne on the topic of "Black Civil War Por­trai­ture in Con­text". We are hoping to publish other essays on topics relating to African Americans fighting for their civil rights, and how that struggle has been reflected in photography. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Figure086 Title A name given to the resource James M. Trotter Subject The topic of the resource James M. Trotter Creator An entity primarily responsible for making the resource John A. Whipple (American, 1823-1891) Date A point or period of time associated with an event in the lifecycle of the resource 1864-1866 Type The nature or genre of the resource studio portrait Rights Holder A person or organization owning or managing rights over the resource. Greg French Collection https://mirrorofrace.bc.edu/files/original/c9756288312827168b037e7a1c8fa923.jpg 05a4a65cf32bc6a4832c2a3588128581 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gender Benders Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Exhibition Name Name of the exhibition in which the item appears Gender Benders Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Carte de visite, albumen prin Factual Commentary Factual Commentary Kady Brownell (1842-1915) was born in South Africa, in the camp of an officer of the British army, where she became used to military life. Around 1860, he immigrated to Providence, Rhode Island, where she worked in a factory and fell in love with the man she married, Robert Brownell. When Robert enlisted in a Rhode Island regiment, Kady insisted on joining him. She learned to shoot, use the sword, and bear the regimental flag. For a contemporary account of how she participated bravely in the battles of Bull Run and New Bern, see Women of the War: Their Heroism and Self-sacrifice (1866), by Frank Moore, pages 54-64. Brownell was the only woman in the Civil War to receive military discharge papers and, eventually, a veteran’s pension. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Figure 3 Title A name given to the resource Kady Brownell Subject The topic of the resource Kady Brownell Date A point or period of time associated with an event in the lifecycle of the resource 1861-65 Type The nature or genre of the resource Studio Portrait Rights Holder A person or organization owning or managing rights over the resource. Greg French Collection Creator An entity primarily responsible for making the resource photographer Unknown Photographer Photographer https://mirrorofrace.bc.edu/files/original/8ea31de89716d2fa243785b687cc5475.tif 85967b2840a2336a0774e99099a94a07 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Coming to America Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Exhibition Name Name of the exhibition in which the item appears Coming to America Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Cabinet photograph Factual Commentary Factual Commentary This portrait is a visual echo of the two previous ones, though it is not a double exposure but rather a father and son from the Pawnee tribe. Like the double exposures, it too marks a cultural transition in identity, but here between generations rather than in a single person. Native Americans are precisely that: <i>native</i> to this land. In a nation of immigrants, they are the exception. And yet, in the harsh irony of history, the son has, in a sense, immigrated to “America” (itself a European name for the so-called New World) by adopting Western dress. For many Native Americans, this cultural colonialism was not a choice, it was forced upon them, though that does not seem to be the case here. Despite all the suffering that transition caused to so many, these two men, at least here, seem entirely self-possessed, in stances that mirror one another. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Figure 6 Title A name given to the resource Kritkahock George and William Polack, Pawnee father and son Subject The topic of the resource Kritkahock George and William Polack, Pawnee father and son Creator An entity primarily responsible for making the resource Morris (Lawrence, Kansas) Date A point or period of time associated with an event in the lifecycle of the resource Date: circa 1885 Type The nature or genre of the resource Studio Portrait Rights Holder A person or organization owning or managing rights over the resource. Greg French Collection https://mirrorofrace.bc.edu/files/original/59661da67004aab86e62461b5712b663.jpg 90e9ec9f1f6861e94ccc87d5f3079792 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mirror of Race Subject The topic of the resource Mirror of Race Main Collection Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data carte de visite: albumen print Physical Dimensions The actual physical size of the original image cdv standard Factual Commentary Factual Commentary The makers’ imprint on the back of each of these two photographs reads: “Robinson and Murphy, Artists, No. 4 Bank Row, Huntsville, Ala” (click on the image to see an enlargement). There is also a handwritten note in period pen that reads as follows: “Photograph of uniforms etc taken by Lt. L. E. Campbell 38th NY on the night of the 31st of October, 1868 ― these were worn by Ku Klux on the night of the fight.” The “fight” mentioned here was a raid on Huntsville, Alabama on Oct. 31, 1868 by approximately 150 mounted men, all wearing Ku Klux Klan regalia and armed with pistols, shotguns, and other other weapons. The 1868 report of the Joint Committee on Outrages, compiled and published to record the increasing activities of the KKK, describes how the raiders came to town to break up a meeting of the Republican Party and to intimidate the now free Blacks of the region. Following is an excerpt from the testimony of A. J. Applegate, a witness to the raid: “About 10 o’clock, the excitement in the meeting and around the court house, became very great. I could hear from all quarters that the Ku Klux were com- ing. I walked down in front of the court house, and saw the head of the column coming up the street, on the east side of the square. They were riding three and four abreast. Their horses were covered with white sheets. The members wore gowns made of light colored material, with masks, hideously ornamented. Each horseman had from one to two pistols, one of which was carried in his right hand, cocked ; also, a carbine or double-barreled shot gun. The column consisted of about one hundred and fifty men. As they passed around the square, I passed through the hall of the court house, crossed the street ahead of the column. When I came out of the court house yard, I saw large crowds of the white citizens stand- ing in groups, or running to and fro, and a considerable number of negroes, who seemed worked up to a state of perfect phrenzy with fear.” The KKK raiders shot Judge Thurlow, who died of his wounds, as well as two African American men, also killed, and wounded several more. Citizens of Huntsville sent to a nearby Federal army camp for protection. That evening, Lieutenant Campbell’s patrol caught three mounted men with weapons and KKK robes in their saddle bags, arrested them, and confiscated the weapons and regalia. But the local authorities released them from prison the next morning; with the help of local citizens, they rearmed, took back their horses by force, and escaped. There seems to have been no other consequences for the attackers. The men in the two photographs are therefore not members of the Ku Klux Klan. They are Federal soldiers who have put on the confiscated robes to record them with a photographer as part of an effort to document the practices of the KKK. These are then very early examples of documentary or forensic photography. According to the Arlington National Cemetery Website, Lieutenant Lafayette E. Campbell (1845-1919) was a career soldier who entered the military as a private in 1862 and rose to the rank of first lieutenant by the end of the Civil War. In 1875, Campbell married Margaret Lynd Dent, the daughter of General Frederick Tracy Dent, who was the brother-in-law of President Ulysses Simpson Grant. In the late 1880’s, Captain Campbell served as quartermaster overseeing the construction of Fort Logan, Denver, Colorado. He retired at the rank of Lieutenant Colonel. Another on-line sourcefor Campbell is the Friends of Historic Fort Logan. Interpretive Commentary Interpretive Commentary These two photographs encapsulate one aspect of the tragedy of the period after the Civil War known as Reconstruction, which lasted from 1865 to 1876. During Reconstruction, Federal military forces occupied the former states of the Confederacy. Their role was to provide security and oversee the reintegration of the former rebellious states into the Union. During Reconstruction, the more radical of the Republicans hoped to orchestrate political and social change so that former slaves would have a fully participatory role in the economy and government of the southern states. African Americans identified almost universally with the Republicans and sought political office as members of that party, and many were elected to state and national positions. However, the forces of white supremacy could not tolerate change this profound, and within a few years of the end of the Civil War, groups such as the Ku Klux Klan had organized to employ terroristic violence against both Blacks and any whites who supported them. The raid on Huntsville is a good example of how such groups could operate almost without fear of the local authorities. The Federal troops stationed in the are could only act after the fact, and not effectively. They captured the KKK robes and weapons shown in the photographs, but could not stop the men who used them. Slowly but surely, the campaign of terror wore away at the national resolve to promote equality for the former slaves, and their leaders and supporters were either murdered, run out of town, or terrified into silence. By 1876, Reconstruction was effectively dead, and the the era of Jim Crow segregation and subjugation had begun. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Figure019 Title A name given to the resource Ku Klux Klan uniforms and gear Subject The topic of the resource Ku Klux Klan uniforms and gear Date A point or period of time associated with an event in the lifecycle of the resource 1868 Type The nature or genre of the resource studio portrait Rights Holder A person or organization owning or managing rights over the resource. Greg French Collection Creator An entity primarily responsible for making the resource Robinson and Murphy (dates Unknown Photographer Photographer) https://mirrorofrace.bc.edu/files/original/0afe299757a7369000ab0bc9766d7b83.tif a1c822862ec4428181c8890810e26af4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Slaves in Black and White Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Exhibition Name Name of the exhibition in which the item appears Slaves in Black and White Original Format The type of object, such as painting, sculpture, paper, photo, and additional data carte de visite, albumen print Factual Commentary Factual Commentary This image shows (from left to right) Rosina Downs, Rebecca Huger, Charles Taylor, and Wilson Chinn — all engaged in the work of learning that the series of photographs seeks to support financially through its sales. The photographer has selected the three “whitest” appearing children to sit with Wilson Chinn, who was depicted wearing chains in the previous photograph. After what must have been a very long day of posing for portraits, Rebecca and Rosina look quite exhausted. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Figure 4 Title A name given to the resource Learning is Wealth Subject The topic of the resource Learning is Wealth Creator An entity primarily responsible for making the resource Charles Paxson (New York) Date A point or period of time associated with an event in the lifecycle of the resource 1863 Type The nature or genre of the resource Studio Portrait Rights Holder A person or organization owning or managing rights over the resource. Greg French Collection https://mirrorofrace.bc.edu/files/original/9eccb4fa8357fdbeafabca6bcd2c5b34.jpg 2c2956d65748a26456597efa38f7259b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mirror of Race Subject The topic of the resource Mirror of Race Main Collection Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data cabinet card Physical Dimensions The actual physical size of the original image cabinet card standard Factual Commentary Factual Commentary Jean Louis Rodolphe Agassiz (1807-1873) was one of the most celebrated naturalists of the 19th century. He has also become quite controversial, because he was one of the major advocates for the theory of polygenesis, the idea that not only are there distinct human races, but that each of these races was separately created, with its own special attributes, to inhabit a specific geographic, environmental region. Louis Agassiz was born in Switzerland and educated there and in Germany. He then went to Paris, where he became the student of Alexander von Humboldt (1769-1859), the great Prussian geographer, and Georges Cuvier (1769-1832), the equally influential zoologist who was instrumental in establishing the fields of comparative anatomy and paleontology. Agassiz became the first to present scientific evidence that the Earth had undergone an Ice Age, and he also became famous for his system of classification of fish, and he developed the scientific system of zoological classification for all genera. Agassiz's growing international renown resulted in his appointment as professor of zoology and geology at Harvard University in 1847. He founded the Museum of Comparative Zoology there in 1859, and he lived in the United States until his death in 1873. In his portrait here, Agassiz stands before a chalkboard, with an illustration of various species of radiates, a form of invertebrate marine life that involve symmetrical formation around a central hub (such as starfish, jellyfish, etc.). The portrait was taken late in his life, when Agassiz traveled to California in 1872 for an expedition and to give lectures in San Francisco. It shows him engaged in the work that most fascinated him: the classification of forms of life, and he is posed as if lecturing. For Agassiz, educating the public about the discoveries of naturalism was an important part of his calling. It was the task of classifying species that brought Agassiz to the question of race. Like many other scientists of his day, Agassiz was convinced that the human species was divided into races, and so the question was, what was the origin and basis of these different races? Agassiz was a biological idealist, a position he learned from his mentor, Cuvier. What idealism meant in biology was that all biological forms had their origin in the mind of God. As their Creator, God had a preexisting idea of each form of life and where it should fit into the overall plan of life on Earth. From this basis, Agassiz proposed his theory of polygenesis (literally, multiple births or origins): that each of the human races had a separate creation, that each race was created to be suited to a specific environmental context, and that therefore each race had particular physical and mental attributes appropriate to its intended context. Agassiz's theory, which he developed in the late 1840s, was tremendously controversial, because it seemed to contradict the biblical story of a single origin (monogenesis) of the human race with Adam and Eve. Agassiz was a believer, and he insisted that his theory did not contradict the biblical sense of a spiritual unity of humankind. Furthermore, when Charles Darwin (1809-1882) published On the Origin of Species in 1859, which argued that the various forms of life derive from the blind struggle of evolution, Agassiz became one of his chief opponents due to his idealist belief that the "origin" of species is the idea of each species in the mind of a creator God. This portrait of Agassiz should be connected to another photograph in the exhibition, the daguerreotype of Delia. In 1850, Agassiz commissioned a photographer in Charleston, South Carolina, to take pictures of slaves. The purpose of these images, some of the earliest images in ethnography, was for use as illustrations to demonstrate Agassiz's theory of polygenesis. Agassiz never published these images, and they remained forgotten until they were rediscovered in 1976. A good source for his biography is Louis Agassiz: A Life in Science, by Edward Lurie (Baltimore and London: The Johns Hopkins University Press, 1988 [1960]). Interpretive Commentary Interpretive Commentary It is a compelling question how one of the most admired naturalists of his day, who loved his work and was dedicated to education, could also have argued for one of the most disturbingly racist explanations of the variation in human forms: the theory of polygenesis. The essays Page of the Mirror of Race has published several pieces on the influence of Louis Agassiz. "Louis Agassiz: Full Face and Profile," by Molly Rogers, presents a bio­graph­i­cal approach to the pho­tographs of slaves that Agassiz commissioned, con­sid­er­ing the images in rela­tion to the personal and pro­fes­sional attitudes of the nat­u­ral­ist who com­mis­sioned them. The series of essays by Helena Machado, Flavio Gomes, and John Moneiro, examines the meaning of an expedition to Brazil that Agassiz undertook in 1865-66, in part to gather evidence for his theory of polygenesis. In the future, we hope to publish more essays on science and race, both from a historical perspective and on the understanding in modern science of what race is -- and is not. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context Figure082 Title A name given to the resource Louis Agassiz Subject The topic of the resource Louis Agassiz Creator An entity primarily responsible for making the resource Carleton Watkins Date A point or period of time associated with an event in the lifecycle of the resource 1872 Type The nature or genre of the resource studio portrait Rights Holder A person or organization owning or managing rights over the resource. Museum of Comparative Zoology, Harvard University https://mirrorofrace.bc.edu/files/original/a652790058d615c09a14b08b420fe54b.pdf af7695569e7125ce491337f072b176e2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Critical Analysis Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Louis Agassiz: Full Face and Profile Subject The topic of the resource Louis Agassiz: Full Face and Profile Description An account of the resource A bio­graph­i­cal approach to pho­tographs of slaves, con­sid­er­ing the images in rela­tion to the per­sonal and pro­fes­sional atti­tudes of the nat­u­ral­ist who com­mis­sioned them. Creator An entity primarily responsible for making the resource Molly Rogers Date A point or period of time associated with an event in the lifecycle of the resource January 18, 2012