Maine Memory Network

Sure Winner Brand, Presque Isle, ca. 1960

Contributed by: Southern Aroostook Agricultural Museum Date: circa 1960 Location: Presque Isle Media: Paper

Irving Lowell, Portland, ca. 1880

Contributed by: Maine Historical Society Date: circa 1880 Location: Portland Media: Photographic print

70 Irving Street, Portland, 1924

Owner in 1924: Martin L. Jensen Use: Dwelling - Two family

36 Irving Street, Portland, 1924

Owner in 1924: Bessie E. Reynolds Use: Dwelling - Two family

Rendering for Irving C. Bailey Esq., Winthrop, 1883

Contributed by: Maine Historical Society Date: 1883 Location: Winthrop Client: Irving C. Bailey Architect: George M. Coombs

Back to School

Public education has been a part of Maine since Euro-American settlement began to stabilize in the early eighteenth century. But not until the end of the nineteenth century was public education really compulsory in Maine.

Evergreens and a Jolly Old Elf

Santa Claus and evergreens have been common December additions to homes, schools, businesses, and other public places to America since the mid nineteenth century. They are two symbols of the Christian holiday of Christmas whose origins are unrelated to the religious meaning of the day.

Eastern Maine Medical Center

View collections, facts, and contact information for this Contributing Partner.

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.