My friend and his wife recently returned from a vacation in Scotland and, knowing my longstanding interest in Italian history and culture, surprised me with a small booklet telling the remarkable story of the Italian Chapel. They also shared the beautiful photographs they had taken during their visit, bringing to life a most extraordinary place of worship.
Built during the Second World War by Italian POWs stationed on the Orkney Islands, the chapel stands as a testament to faith, resilience, and the enduring power of beauty in the midst of hardship. Fashioned from humble materials, including two joined Nissen huts, its richly painted interior gives the impression of carved stone, marble, and mosaic. At its heart was the vision and artistry of Domenico Chiocchetti, whose devotion transformed a simple military hut into a sacred sanctuary that continues to inspire visitors from around the world.
Before creating the chapel, Chiocchetti fashioned a striking statue of Saint George from scrap barbed wire and cement salvaged around the camp. More than a work of art, it became a symbol of hope for the prisoners and their longing for peace. Hidden within its plinth, the prisoners placed a milk bottle containing the names of the men of Camp 60, along with a few Italian coins and banknotes, leaving behind a quiet testament to their shared ordeal. The success of the statue helped convince the camp commandant, together with the camp priest, to allow the prisoners to build the Italian Chapel itself.
Surrounded by the touching traditions that have grown up around it, one enduring legend centers on Giuseppe Palumbi, a gifted blacksmith from Abruzzo who fashioned the chapel’s elegant wrought-iron screen. According to local tradition, he fell in love with a young Orcadian woman during his time on the islands, despite having a wife and family waiting for him in Italy. When the war ended and he returned home, he is said to have left behind a small wrought-iron heart embedded in the chapel floor as a silent token of his unfulfilled love. Whether fact or folklore, the story lends another layer of poignancy to a place already rich in sacrifice, longing, faith, and hope.
The story of the Italian Chapel is more than a chapter in wartime history. It is a reminder that even in captivity, the human spirit can create something lasting and beautiful. I am grateful to my friends for thinking of me and for introducing me to this remarkable little sanctuary through the booklet, the photographs they brought home, and the stories they shared from their visit.
~ By Giovanni di Napoli, July 6th, Feast of Santa Domenica di Tropea
July 7, 2026
Feast of San Panteno di Alessandria
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San Panteno di Alessandria, ora pro nobis |
According to ancient tradition, Pantaenus also undertook missionary journeys to the East, possibly reaching India, where he reportedly found a community of Christians already in possession of the Gospel of St. Matthew in Hebrew. Although many details of his life remain uncertain, his reputation for learning, holiness, and zeal earned him lasting esteem in both the Eastern and Western Christian traditions.
St. Pantaenus stands as one of the earliest models of the Christian scholar: a man who united philosophical learning with fidelity to the Gospel, helping lay the intellectual foundations upon which later Fathers of the Church would build.
Evviva San Panteno di Alessandria!
In celebration of the feast, we offer this prayer:
Lord God, you counted Saint Pantaenus among your holy pastors, renowned for faith and love which conquered evil in this world. With the help of his prayers, keep us strong in faith and love, and let us come to share his glory. Grant this through Christ our Lord. Amen.
Science, Upside Down
I spotted this sticker on the subway recently, and I’m still not entirely sure what its intended message was. At first, I assumed it was a secularist attack on Christianity—a claim that science had somehow displaced Faith. Later, I wondered whether it was actually meant as a Christian critique of the modern tendency to treat science as a substitute for religion.
Either way, it reflects a common misunderstanding. Historically, Catholicism has never regarded science as an enemy. Properly understood, scientific inquiry and divine revelation cannot ultimately contradict one another, because both seek truth. The real conflict is not between faith and science, but between faith and scientism—the belief that science alone can explain all of reality.
Bonded by Blood. New World: A Presentation by Germana Valenti
Thursday, July 9th (6 PM - 7:30 PM)
Italian American Museum
151 Mulberry Street
New York, NY 10013
In Sanguine Foedus. Nuovo Mondo (Bonded by Blood. New World) represents a monumental, 1,000-square-meter mural recently inaugurated at the Port of Naples, Italy. Created by Neapolitan artist Vittorio Valiante, the artwork honors the historical Italian emigration to the United States.
The mural spans the Molo San Vincenzo pier. At this exact historical departure point, millions of Italians left in search of a better future, and it serves as a visual bridge between the cultures of Naples and New York City, connecting Italian heritage with the Italian-American experience.
The work was born from an idea by promoters Francesco Andoli and Germana Valentini and was created by the Neapolitan artist Vittorio Valiante, in collaboration with INWARD National Observatory on Urban Creativity, thanks to the hospitality and support of the Central Tyrrhenian Sea Port System Authority and with the patronage of the Consulate General of the United States of America in Naples, the MEI – National Museum of Italian Emigration, the Deputation of the Royal Chapel of the Treasure of San Gennaro and the Museum of the Treasure of San Gennaro. The mural was made possible thanks to the contributions of the Banco di Napoli Foundation, NIAF National Italian American Foundation, L'Antica Pizzeria da Michele worldwide, Mulino Caputo, Sorì Italia, La Reggia Designer Outlet, and Horecapp.
Ticket price includes admission to the Museum's current exhibitions, "Totò and his Naples: An exhibition celebrating the life of Italy’s most prolific comedic actors in celebration of the 2,500th Anniversary of the founding of the city of Naples, Italy", "Sicilian Theater in Little Italy: The Return of the Manteo Puppets" and "Goodnight, Maria: A Tribute to all the women who worked tirelessly in the garment industry to live the American dream.”
For more information, visit Eventbrite
Italian American Museum
151 Mulberry Street
New York, NY 10013
In Sanguine Foedus. Nuovo Mondo (Bonded by Blood. New World) represents a monumental, 1,000-square-meter mural recently inaugurated at the Port of Naples, Italy. Created by Neapolitan artist Vittorio Valiante, the artwork honors the historical Italian emigration to the United States.
The mural spans the Molo San Vincenzo pier. At this exact historical departure point, millions of Italians left in search of a better future, and it serves as a visual bridge between the cultures of Naples and New York City, connecting Italian heritage with the Italian-American experience.
The work was born from an idea by promoters Francesco Andoli and Germana Valentini and was created by the Neapolitan artist Vittorio Valiante, in collaboration with INWARD National Observatory on Urban Creativity, thanks to the hospitality and support of the Central Tyrrhenian Sea Port System Authority and with the patronage of the Consulate General of the United States of America in Naples, the MEI – National Museum of Italian Emigration, the Deputation of the Royal Chapel of the Treasure of San Gennaro and the Museum of the Treasure of San Gennaro. The mural was made possible thanks to the contributions of the Banco di Napoli Foundation, NIAF National Italian American Foundation, L'Antica Pizzeria da Michele worldwide, Mulino Caputo, Sorì Italia, La Reggia Designer Outlet, and Horecapp.
Ticket price includes admission to the Museum's current exhibitions, "Totò and his Naples: An exhibition celebrating the life of Italy’s most prolific comedic actors in celebration of the 2,500th Anniversary of the founding of the city of Naples, Italy", "Sicilian Theater in Little Italy: The Return of the Manteo Puppets" and "Goodnight, Maria: A Tribute to all the women who worked tirelessly in the garment industry to live the American dream.”
For more information, visit Eventbrite
July 6, 2026
Controra: When Midday Falls Silent
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| Phoebus Apollo, beneath the blistering sun at Pompeii |
There is a peculiar hour when the sun is at its zenith, the streets stand empty, the shutters are closed, and even the cicadas seem to dream. This is the controra.
Our forebears called it the Hour of the Spirits. Many believed that, beneath the crushing noontide sun, the souls of the departed and strange meridian demons wandered the silent roads. Children were warned to remain indoors—not only to escape the dangerous heat, but to avoid whatever unseen things lurked in the shimmering stillness.
More than folklore, the controra is also an act of quiet resistance. In a civilization increasingly ruled by haste, productivity, and chrono-capitalism, these still hours remind us that not every moment exists to be exploited. There is dignity in pausing, in daydreaming, in reflection, and in simply being.
Perhaps it is no coincidence that meridionale—“southerner”—derives from the Latin meridies, meaning both “noon” and “south.” To belong to the South has always meant living by the sun, accepting its rhythms, and knowing that, for one mysterious hour each day, the world itself seems to hold its breath.
~ By Giovanni di Napoli, July 5th, Feast of Sant’Antonio Maria Zaccaria
Photo of the Week: Apollo Citharoedus, Vatican Museums
July 5, 2026
Orpheus and Eurydice
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| Orpheus and Eurydice, 1893, Auguste Rodin |
The beloved bride of the
poet-bard Orpheus,
Was claimed by death
He descended into the shadowed
realm beneath the earth,
Carrying only his lyre and his
undying love.
So moving was his lament
That even the rulers of the
dead relented,
Granting Eurydice’s return
upon one condition:
He must not look upon her
Until both had emerged from
the kingdom of shades.
Yet at the threshold
Between darkness and light,
Doubt overcame faith.
Orpheus turned, and in that
fatal instant
Eurydice vanished once more
into the depths of Hades.
New Book — The Situated Science of Nicola Caputi: Witnessing Wonders in the Eighteenth-Century Kingdom of Naples
A forthcoming title that may be of interest to our readers. Available at Amazon.com
• The Situated Science of Nicola Caputi: Witnessing Wonders in the Eighteenth-Century Kingdom of Naples by Manuel De Carli
Publisher: Anthem Press
Pub. Date: August 11, 2026
Paperback: $24.95
Language: English
Pages: 100
Read description
Click here to see more books
Listing does not imply endorsement
• The Situated Science of Nicola Caputi: Witnessing Wonders in the Eighteenth-Century Kingdom of Naples by Manuel De Carli
Publisher: Anthem Press
Pub. Date: August 11, 2026
Paperback: $24.95
Language: English
Pages: 100
Read description
Click here to see more books
Listing does not imply endorsement
July 4, 2026
The Last Settlers?
On this Independence Day, as Americans celebrate the 250th anniversary of These United States, I have found myself reflecting upon a meme I recently came across online and how much truth it actually contains.
Like most memes, it simplifies a more complicated history. Italians did not arrive in an undeveloped wilderness. By the time the great wave of Italian immigration began in the late nineteenth century, the United States was already becoming a major industrial power, with growing cities, expanding railroads, and a dynamic economy, even as parts of the West were still being settled. Italians entered a society whose institutions, customs, and public life had largely been shaped by the nation’s longstanding Majority population.
Still, the meme captures something important that is often forgotten. Immigration is not only a story of opportunity received but of contribution offered. Millions of Italians came seeking a better life. They brought skills, labor, traditions, faith, and a strong sense of family. They did not merely benefit from America; they helped shape it.
Many Italian immigrants labored on roads, railways, tunnels, docks, farms, factories, and construction projects. They helped expand neighborhoods, churches, businesses, and civic institutions that remain part of the American landscape today. In cities like New York, Boston, Philadelphia, New Orleans, and countless others, Italians left a visible mark upon the nation’s physical and cultural fabric. Like countless other Americans, Italians and their descendants answered the nation’s call in times of war and peace alike.
Yet the story is more complicated than either celebration or condemnation. America did not always treat Italians justly. Many faced discrimination, poverty, suspicion, and, in some cases, violence. The lynching of Italian immigrants remains one of the darkest and least remembered chapters of American history.
More broadly, the United States itself has never been free of faults. Like all countries, its history contains episodes worthy of admiration alongside those worthy of criticism, and the present day is no exception. Acknowledging what is noble in the American experiment does not require ignoring its failures or remaining silent about the misguided causes, conflicts, and policies in which the nation remains involved.
That said, it is worth remembering that our ancestors did not cross an ocean without reason. The Italy many left behind was often poorer and offered fewer opportunities than the America in which they hoped to make a life. For many Southern Italians, the promises of unification quickly gave way to disappointment. In the decades that followed, economic hardship, political neglect, heavy taxation, military repression, and persistent regional inequalities convinced millions that their future lay elsewhere. For all of its shortcomings, the United States represented possibilities that many could not find at home.
At the same time, Italians were not always good to America. No people are without faults, and Italians were no exception. Odious criminal organizations such as the Mafia brought dishonor to communities that otherwise sought only honest work and stability. A small number also embraced radical political movements that stood at odds with the country’s institutions and traditions.
While we did not endure the trials of America’s earliest settlers, neither did we have it as easy as many who followed. Ours is a unique chapter in the American story, shaped by hardship, perseverance, and the determination to build a better future for our children.
The greatest challenge facing Italian Americans today is not the prejudice of the past but the forgetfulness of the present. The pressures of modernity have accomplished what neither discrimination nor poverty could. Secularism has weakened the religious life that once stood at the center of many communities. Materialism has encouraged comfort over duty and sacrifice. Assimilation and globalization have loosened ties to place, family, faith, and tradition.
Today, too many of our own have embraced ideological currents that have contributed to America's cultural and moral decline. The descendants of immigrants who crossed an ocean to preserve their way of life often struggle to remember what that way of life was.
Corruption, rootlessness, and the homogenizing tendencies of modern American life have only accelerated this process. In many respects, deracination rather than exclusion has become the defining challenge of our age. The danger today is not that we will be prevented from being Italian Americans, but that we will forget what being Italian American once meant.
~ By Giovanni di Napoli, July 3rd, Feast of San Leone II
Like most memes, it simplifies a more complicated history. Italians did not arrive in an undeveloped wilderness. By the time the great wave of Italian immigration began in the late nineteenth century, the United States was already becoming a major industrial power, with growing cities, expanding railroads, and a dynamic economy, even as parts of the West were still being settled. Italians entered a society whose institutions, customs, and public life had largely been shaped by the nation’s longstanding Majority population.
Still, the meme captures something important that is often forgotten. Immigration is not only a story of opportunity received but of contribution offered. Millions of Italians came seeking a better life. They brought skills, labor, traditions, faith, and a strong sense of family. They did not merely benefit from America; they helped shape it.
Many Italian immigrants labored on roads, railways, tunnels, docks, farms, factories, and construction projects. They helped expand neighborhoods, churches, businesses, and civic institutions that remain part of the American landscape today. In cities like New York, Boston, Philadelphia, New Orleans, and countless others, Italians left a visible mark upon the nation’s physical and cultural fabric. Like countless other Americans, Italians and their descendants answered the nation’s call in times of war and peace alike.
Yet the story is more complicated than either celebration or condemnation. America did not always treat Italians justly. Many faced discrimination, poverty, suspicion, and, in some cases, violence. The lynching of Italian immigrants remains one of the darkest and least remembered chapters of American history.
More broadly, the United States itself has never been free of faults. Like all countries, its history contains episodes worthy of admiration alongside those worthy of criticism, and the present day is no exception. Acknowledging what is noble in the American experiment does not require ignoring its failures or remaining silent about the misguided causes, conflicts, and policies in which the nation remains involved.
That said, it is worth remembering that our ancestors did not cross an ocean without reason. The Italy many left behind was often poorer and offered fewer opportunities than the America in which they hoped to make a life. For many Southern Italians, the promises of unification quickly gave way to disappointment. In the decades that followed, economic hardship, political neglect, heavy taxation, military repression, and persistent regional inequalities convinced millions that their future lay elsewhere. For all of its shortcomings, the United States represented possibilities that many could not find at home.
At the same time, Italians were not always good to America. No people are without faults, and Italians were no exception. Odious criminal organizations such as the Mafia brought dishonor to communities that otherwise sought only honest work and stability. A small number also embraced radical political movements that stood at odds with the country’s institutions and traditions.
While we did not endure the trials of America’s earliest settlers, neither did we have it as easy as many who followed. Ours is a unique chapter in the American story, shaped by hardship, perseverance, and the determination to build a better future for our children.
The greatest challenge facing Italian Americans today is not the prejudice of the past but the forgetfulness of the present. The pressures of modernity have accomplished what neither discrimination nor poverty could. Secularism has weakened the religious life that once stood at the center of many communities. Materialism has encouraged comfort over duty and sacrifice. Assimilation and globalization have loosened ties to place, family, faith, and tradition.
Today, too many of our own have embraced ideological currents that have contributed to America's cultural and moral decline. The descendants of immigrants who crossed an ocean to preserve their way of life often struggle to remember what that way of life was.
Corruption, rootlessness, and the homogenizing tendencies of modern American life have only accelerated this process. In many respects, deracination rather than exclusion has become the defining challenge of our age. The danger today is not that we will be prevented from being Italian Americans, but that we will forget what being Italian American once meant.
~ By Giovanni di Napoli, July 3rd, Feast of San Leone II
Feast of San Piergiorgio Frassati
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| San Piergiorgio Frassati, ora pro nobis |
A man of deep prayer and active charity, Pier Giorgio devoted himself to numerous Catholic organizations, including the Conferenza di San Vincenzo and l’Azione Cattolica. As a professed member of the Third Order of St. Dominic, he took the religious name Girolamo in honor of Girolamo Savonarola. In 1924, together with a circle of close friends, he founded the society known as Tipi Loschi (“Shady Characters”), a group dedicated to mountaineering, spiritual growth, friendship, and service to those in need.
Pier Giorgio died unexpectedly on July 4, 1925, after contracting poliomyelitis, at just twenty-four years of age. Thousands of mourners—many of them poor, sick, and otherwise unknown to his family—attended his funeral. The remarkable turnout revealed the extent of his hidden works of mercy. Deeply moved by the testimony of those whose lives his son had touched, his grieving father came to recognize who Pier Giorgio truly was and returned to the practice of the faith.
Long venerated as a model of youthful sanctity, Pier Giorgio was beatified by Pope John Paul II in 1990 and is scheduled to be canonized by Pope Leo XIV on September 7, 2025, together with Carlo Acutis. His canonization is a powerful reminder that holiness is attainable in every age and state of life.
In celebration of his feast, we are sharing a prayer to St. Pier Giorgio Frassati written by Cardinal Giovanni Saldarini, Archbishop Emeritus of Turin. The photograph of the relic made from wood taken from Saint Pier Giorgio’s coffin comes courtesy of Father Eugene Carrella and is part of his remarkable collection of religious artifacts.
Evviva San Pier Giorgio Frassati!
Prayer to St. Pier Giorgio Frassati
O Father, you gave to the young Pier Giorgio Frassati the joy of meeting Christ and of living his faith in the service of the poor and the sick; through his intercession, may we, too, walk the path of the Beatitudes and follow the example of his generosity, spreading the spirit of the Gospel in society. Through Christ our Lord. Amen.
July 3, 2026
In Search of the Devil’s Bridge with the Ghost of the Count of Sciancato
In Search of… with the Ghost of the Count of Sciancato explores mysteries where history and legend blur and conjecture begins—along with the strange, the macabre, and the uncanny. What follows suggests possible explanations—though not the only ones.The Medieval Aqueduct of Salerno: The Devil’s Bridge
In the historic center of Salerno, rising unexpectedly between narrow streets and weathered facades, stand a series of dark stone arches.
They call it the Devil’s Bridge.
Constructed in the ninth century, the aqueduct once carried water to the Monastery of San Benedetto. Built during the Lombard period, its pointed arches cut sharply against the southern sky, a geometry at once practical and severe. For centuries it served the city quietly.
Local legend insists the aqueduct was not built by human hands alone. It was said that a Salernitan magician—sometimes identified with Pietro Barliario, a shadowy figure associated with forbidden knowledge—made a pact with darker forces to complete the arches in a single night. Others claimed the Devil himself assisted in its construction, leaving behind the structure as proof of his labor.
The name endured: Ponte del Diavolo.
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| 19th-century engraving of the Medieval Aqueduct of Salerno, known as Ponte del Diavolo ("Devil's Bridge"). |
During the Middle Ages, the city was renowned for its medical school, the Schola Medica Salernitana, where Greek, Latin, Arab, and Jewish knowledge converged. It was a place where science and superstition coexisted uneasily. Where healing and alchemy, theology and experiment stood in tense proximity.
To some, the arches were a triumph of Lombard ingenuity; to others, they marked a threshold—an intrusion of something not entirely benign.
At night, the structure takes on another character. The arches loom. The spaces between them darken. For generations, townspeople avoided passing beneath them after sunset. It was said witches gathered there, spirits lingered in the shadows, and something watched from the empty span.
Was the Devil’s Bridge merely a marvel of early medieval engineering?
Or did the imagination of a fearful age project its anxieties onto stone and mortar?
……………………………………
Sebastiano III, Conte di Sciancato, a minor prince of forgotten Lucania, was said to have loved his wife more than his soul. When his beloved bride, Donna Lucrezia di Nerafiora, died in a tragic accident, he could not accept the will of fate. In his grief, he turned to ancient books and desperate learning, searching for a way to restore her to the world of the living. The attempt cost him his life. The ruins of his torre lie hidden, and when the earth trembles, some whisper he still searches for her.
Sebastiano III, Conte di Sciancato, a minor prince of forgotten Lucania, was said to have loved his wife more than his soul. When his beloved bride, Donna Lucrezia di Nerafiora, died in a tragic accident, he could not accept the will of fate. In his grief, he turned to ancient books and desperate learning, searching for a way to restore her to the world of the living. The attempt cost him his life. The ruins of his torre lie hidden, and when the earth trembles, some whisper he still searches for her.
July 2, 2026
Fuoco Fatuo
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The Will-o’-the-Wisp and the Snake (1901) by Hermann Hendrich. A Symbolist interpretation of the fuoco fatuo |
Last night, during an evening passeggiata, a friend quietly led me away from our usual route toward the old church cemetery. She offered no explanation. Only when I peered through the iron fence did I understand.
The tombstones shimmered beneath hundreds of lightning bugs, their tiny lanterns flickering through the darkness like a host of wandering souls. There were more lights among the graves than stars above. For a moment, the cemetery became a place of enchantment, and every firefly seemed a will-o’-the-wisp—fuoco fatuo—wandering silently among the dead.
I turned toward my friend. The smile on her face said everything.
~ By Giovanni di Napoli, July 1st, Feast of the Most Precious Blood
Among the Ruins of a Republic: An Afternoon in the American Wing
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| Washington Crossing the Delaware, 1851, oil on canvas, Emanuel Leutze |
Often critical of the government, its corrupt political factions, and the ideologies that increasingly dominate public life, I still love this country and remain grateful for the inheritance it has given us. For all our divisions and shortcomings, there remains much that is worthy of admiration and preservation.
The American Wing offers a reminder of that inheritance. Its paintings, sculptures, furnishings, and decorative arts bear witness to a civilization confident in beauty, craftsmanship, permanence, and higher ideals. They reveal a people who believed art should elevate, instruct, and inspire rather than merely provoke or entertain.
Sadly, the museum itself has not remained entirely immune to the fashionable ideological tendencies of our age. I have come to abhor the Met’s practice of placing contemporary works alongside acknowledged masterpieces in an attempt to create a “conversation.” Such experiments are better confined to the Modern Art galleries.
The pairing of Kay WalkingStick’s Thom, Where are the Pocumtucks (The Oxbow) with Thomas Cole’s The Oxbow was a particularly striking example. Standing before the two works, one is struck by the immense difference separating a master from a lesser talent. The result was less a dialogue than a demonstration of how far our artistic standards have fallen. Rather than “enriching” Cole’s achievement, the juxtaposition only made his genius more apparent.
Walking through those galleries, I could not escape the feeling that we are living amid the ruins of a saner civilization. The artistic achievements remain, preserved behind glass and gilded frames, while many of the assumptions that produced them have faded from public life. Yet perhaps that is why museums matter. They remind us not only of what once was, but of what might still be recovered.
As the nation approaches its two hundred and fiftieth year, the American Wing stands as a quiet testament to the best of our inheritance and to the enduring possibility that beauty, memory, and gratitude may yet help guide us forward.
~ By Giovanni di Napoli, July 1st, Feast of the Most Precious Blood
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| My Bunkie, finished 1899, oil on canvas, Charles Schreyvogel |
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| On the Southern Plains, 1907, oil on canvas, Frederic Remington |
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| Repose, 1895, oil on canvas, John White Alexander |
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| Across the Room, ca. 1899, oil on canvas, Edmund Charles Tarbell |
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| (L) Madame X (Virginie Amélie Avegno Gautreau), 1883-84, oil on canvas, John Singer Sargent. (R) A Rose, 1907, oil on canvas, Thomas Anshutz |
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| La Pêche (Fishing), 1901-4, oil on wood panel, Thomas Wilmer Dewing |
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| (L) George Washington, carved after 1844, marble, Hiram Powers. (R) George Washington, ca. 1782, oil on canvas, James Peale |
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| (L) Thomas Jefferson, 1788, oil on mahogany, John Trumbull. (R) Antislavery medallion, Stoke-on-Trent, ca. 1787, jasperware, Josiah Wedgwood and William Hackwood |
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| (L) Abraham Lincoln (Standing Lincoln), cast 1911, bronze, Augustus Saint-Gaudens. (R) Victory, cast ca. 1914-16, bronze, gilt, Augustus Saint-Gaudens |
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| (L) California, carved 1858, marble, Hiram Powers. (R) A Young Mother, cast ca. 1906, bronze, Bessie Potter Vonnoh |
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| The Babes in the Wood, carved 1851, marble, Thomas Crawford |
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| (L) Descending Night, cast by 1917, bronze, Adolph Alexander Weinman. (R) Standing Torso of a Woman, cast ca. 1909, Paul Wayland Bartlett |
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| Scratching Her Heel, 1921, bronze, Alexander Stirling Calder |
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| (L) Seated Torso of a Woman, cast ca. 1909, bronze, Paul Wayland Bartlett. (R) Pavlova, 1916, bronze, Alfred David Lenz |
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| (L) Daphne, carved 1854, marble, Harriet Goodhue Hosmer. (R) Peace, ca. 1998, marble, William Ordway Partridge |
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| (L) Diana, this cast, 1928, gilt bronze, August Saint-Gaudens. (R) Fragilina, 1923, marble, Attilio Piccirilli |
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| Mexican Girl Dying, this carving, 1848, marble, Thomas Crawford |
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| (L) Cleopatra, this carving, 1869, marble, William Wetmore Story. (R) The Libyan Sibyl, this carving, 1861, marble, William Wetmore Story |
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| (L) Ruth Gleaning, this carving, 1856 or 1856, marble, Randolph Rogers. (R) Evening, this carving, 1891, marble, Fredrick Wellington Ruckstull |
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| (L) Clytie, this carving, 1872, marble, William Henry Rinehart. (R) Medea, this carving, 1868, marble, William Wetmore Story |
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