Historic Treasures Of New Haven

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 celebrated history of New Haven often overshadows its fascinating and forgotten past. The Elm City was home to America's first woman dentist, an architect who designed the tallest twin towers in the world and a medical student who used toy parts to create an artificial heart pump. A city noted as the home of one of the top universities in the world, New Haven is also home to the third-oldest independent school in the United States, the first African American to receive a PhD degree and the founding of what would become the largest Catholic fraternal benefit society in the world. The city's share of disasters includes Connecticut's worst aviation crash, a zookeeper who was mauled to death and a fire at the Rialto Theater. Local authors Robert and Kathleen Hubbard reveal the rich and fascinating cultural legacies of one of New England's most treasured cities.

This full-color book offers new perspectives on the rich complexity of Jewish experiences in America. Each of the treasures is described in historical, material, and visual contexts, offering readers new, unexpected insights into the meanings of Jewish life, history, and culture.

There are nearly 500 public works of art throughout New Haven, Connecticut--a city of 17 square miles with 130,000 residents. While other historic East Coast cities--Philadelphia, Providence, Boston--have been the subjects of book-length studies on the function and meaning of public art, New Haven (founded 1638) has largely been ignored. This comprehensive analysis provides an overview of the city's public art policy, programs and preservation, and explores its two centuries of public art installations, monuments and memorials in a range of contexts.

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.

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.