Maine Memory Network

Class of 1902, Lincoln Academy, Newcastle, 1902

Contributed by: Lincoln Academy Date: 1902 Location: Newcastle Media: Photographic print

Class of 1908, Lincoln Academy, Newcastle, 1908

Contributed by: Lincoln Academy Date: 1908 Location: Newcastle Media: Photographic print

Dressing Up, Standing Out, Fitting In

Adorning oneself to look one's "best" has varied over time, gender, economic class, and by event. Adornments suggest one's sense of identity and one's intent to stand out or fit in.

Graduation Season

Graduations -- and schools -- in the 19th through the first decade of the 20th century often were small affairs and sometimes featured student presentations that demonstrated what they had learned. They were not necessarily held in May or June, what later became the standard "end of the school year."

John Martin: Expert Observer - Gorham L. Boynton, Bangor, ca. 1867

"… lumber merchant, whom he described as "among a class of risky and reckless men." Martin, who wrote and illustrated five volumes of recollections…"

Portland Press Herald Glass Negative Collection - "Twenty Nationalities, But All Americans"

"… Public Schools offered daytime "Americanization" classes for adult and school-aged immigrants. Although organizations in Portland had provided…"

Tapestry, Seine Twine and Burlesque
by Barbara Burns

My work as a tapestry artist and dancer in Maine.

Longfellow Studies: Celebrity's Picture - Using Henry Wadsworth Longfellow's Portraits to Observe Historic Changes

Grade Level: 3-5, 6-8, 9-12 Content Area: Social Studies, Visual & Performing Arts
"In the four quarters of the globe, who reads an American book?" Englishman Sydney Smith's 1820 sneer irked Americans, especially writers such as Irving, Cooper, Hawthorne, and Maine's John Neal, until Henry Wadsworth Longfellow's resounding popularity successfully rebuffed the question. The Bowdoin educated Portland native became the America's first superstar poet, paradoxically loved especially in Britain, even memorialized at Westminster Abbey. He achieved international celebrity with about forty books or translations to his credit between 1830 and 1884, and, like superstars today, his public craved pictures of him. His publishers consequently commissioned Longfellow's portrait more often than his family, and he sat for dozens of original paintings, drawings, and photos during his lifetime, as well as sculptures. Engravers and lithographers printed replicas of the originals as book frontispiece, as illustrations for magazine or newspaper articles, and as post cards or "cabinet" cards handed out to admirers, often autographed. After the poet's death, illustrators continued commercial production of his image for new editions of his writings and coloring books or games such as "Authors," and sculptors commemorated him with busts in Longfellow Schools or full-length figures in town squares. On the simple basis of quantity, the number of reproductions of the Maine native's image arguably marks him as the country's best-known nineteenth century writer. TEACHERS can use this presentation to discuss these themes in art, history, English, or humanities classes, or to lead into the following LESSON PLANS. The plans aim for any 9-12 high school studio art class, but they can also be used in any humanities course, such as literature or history. They can be adapted readily for grades 3-8 as well by modifying instructional language, evaluation rubrics, and targeted Maine Learning Results and by selecting materials for appropriate age level.