53 10 1323 https://openvalley.org/files/original/48c5bded616e2fa9675ce7c4fbeeb025.jpg a3728c209bebee0ad5a72c23df4704aa https://openvalley.org/files/original/7c7feb9691d57f6fae2f70829f6997d2.jpg b07ed5d0fd9f9971e4270214f886c5b1 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 photograph, map, drawing, painting, etc., and any additional data Postcard Physical Dimensions The actual physical size of the original image 3.5 x 5 in. 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 Kodak Park, Home of Eastman Kodak Co., Rochester NY Publisher An entity responsible for making the resource available Manson News Agency Date A point or period of time associated with an event in the lifecycle of the resource 1930-1945 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Courtesy of Ken Cooper Format The file format, physical medium, or dimensions of the resource jpeg, 628 KB jpeg, 259 KB Description An account of the resource Following the success of George Eastman's introduction of affordable cameras, the company's manufacturing infrastructure expanded rapidly. Postcard announces Rochester company as the "largest industry of its kind in the world." At its height in the mid-1960s, Kodak Park was comprised of 1,300 acres on a parcel four miles long, and housed 140 manufacturing buildings. At this location Kodak manufactured film, photographic paper, processing chemicals, magnetic tape, and some 4,000 other "research chemicals." 20,000 employees worked there, so the company's description of Kodak Park as "virtually a city within a city" was justified. As a consequence of its chemical production, Kodak Park also had an outsized ecological footprint--one that became increasingly public by the 1980s in the wake of Love Canal. Dioxin, methylene chloride, and many other hazardous wastes led to its status as (by far) the largest polluter in Western New York. Between 1974 and 2007, Kodak secretly operated a small nuclear reactor; in 2013 it was revealed that the company had buried radioactive waste at the western edge of this complex. The two large smokestacks at the photo's center were part of a coal-fired electrical plant that burned perhaps 600,000 tons of coal per year generting up to 200 megawatts--the equivalent of a city of 200,000. In 2018, one of only three such plants in New York state, converted to natural gas (also a fossil fuel). Several buildings were demolished, the plot of land was renamed Eastman Business Park, and its chemical reckoning continues. Works Consulted: Eastman Kodak, The Kodak Park Works: Where Kodak Film, Papers, and Chemicals are Made (1964) Type The nature or genre of the resource Postcard Coal Eastman kodak company Genesee River George Eastman Kodak Park Pollution Post Card Rochester, NY https://openvalley.org/files/original/1d78b0899cf9046e1889bf13b7ea8c30.jpg d6b9e7b96006841a26c8b8ebd4382be9 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 Caledonia 1892 Description An account of the resource This collection of images is based upon <a href="https://openvalley.org/files/original/3ae1204165be3bf753a4d31e568da22a.jpg" target="_blank" rel="noopener">an 1892 birds-eye panorama of Caledonia, NY</a> published by Burleigh Litho of Troy, NY. According to John William Reps, Lucien R. Burleigh was responsible—whether as artist or publisher—for some 228 lithographic city views (it is possible, even likely that the Caledonia map was executed by an employee named Christian Fausel). Trained as a civil engineer, economic recession pressed Burleigh into finding other ways of making a living. He began city viewmaking during the 1870s and by the mid-1880s was well established in his profession. His usual practice was to work from an available map, determine the most advantageous viewpoint (for a village like Caledonia, typically 1500 feet above the ground), and making small sketches at the street level. Another important task during a two- or three-week stay was soliciting subscriptions for the panorama: it took perhaps 100 persons, each paying $2.50-3:00 for a map, for the project to break even. The Burleigh map’s legend provides us with a snapshot of Caledonia in 1892, just recovering from a major fire in 1891. It lists railroad stations, churches, the public school, and even Seth Green’s fish hatchery, but a majority of the numbered locations are commercial enterprises—a likely base of customers for purchasing copies of the completed work. Using old newspapers and trade magazines, this collection has gathered advertising from most of the businesses. Its purpose is to populate an interactive map for the “Heraldry” section of the “Clans of Caledonia” exhibit, where we see immigrant affiliations interacting with national and commercial icons—a complex process of so-called “Americanization.” Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Thanks to Tom Tryniski, Fulton History 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 photograph, map, drawing, painting, etc., and any additional data Newspaper article 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 L.M. Place, Drugs & Pat' Medicines Description An account of the resource Number 43 on the Burleigh map, drugstore appears to have been a short-lived venture that began sometime around 1891 and was dissolved by 1893, when Place sold his stock of patent medicines. This mention in the local newspaper dates to 1892. The first love of L[ouis] M. Place (ca. 1859-1896) seems to have been horses--as of 1881, he was entered in the so-called "butcher's races" at the Avon Driving Park race track. In 1890 he was seriously injured by horses and suffered poor health in the years following. He married Clara Laidlaw in 1891. Publisher An entity responsible for making the resource available Caledonia Advertiser Date A point or period of time associated with an event in the lifecycle of the resource 1892-04-21 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Courtesy of Tom Tryniski / Fulton History Format The file format, physical medium, or dimensions of the resource jpeg, 62 KB Avon Driving Park Burleigh Litho Co Caledonia, NY Drugs Louis M. Place https://openvalley.org/files/original/634c02bf2a47784fc0657f4d264cfc0c.jpg 280b726438a1c7155d0f9cd33450380f https://openvalley.org/files/original/8e8e1f59712dc5f2b4bf899e7d80a4d8.jpg 02fa45927aefc21767da774501aed275 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 photograph, map, drawing, painting, etc., and any additional data Engraved illustration 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 Laborer's Cottage Description An account of the resource A letter to the editor of The Genesee Farmer claimed that the "drudgery and discomfort to which farmers’ wives and daughters are subjected" was even greater than the wives of laborers and mechanics. This was because farm women were responsible for "boarding and lodging large numbers of hired men" (Hill, "Laborer's Cottages--Farmer's Wives," The Genesee Farmer 19.1 (Jan. 1858): 16. Regardless of the writer's accuracy, he proposed housing hired farmworkers in small cottages as the solution. Directly borrowed from A.J. Downing's T<a href="https://archive.org/details/architecturecou00downgoog/page/n88/mode/1up" target="_blank" rel="noopener">he Architecture of Country Houses</a> (1850), two renderings depict a modest structure containing a living room, pantry, three bedrooms, and a cellar. Its advantage was that a farmer "can employ married men and have them board themselves"--or more accurately their wives would. He claimed it would attract better hands and provide more comfortable accommodations for hired workers. Still, the focus was upon the expense, work, and ethnic distaste on the farmer's end: "we heartily desire the emancipation of farmers’ wives from the slavery of ‘keeping Irish,’ or Dutch, or even Yankee ‘boarding houses.’ Publisher An entity responsible for making the resource available The Genesee Farmer Date A point or period of time associated with an event in the lifecycle of the resource 1858-01 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived The Genesee Farmer 19.1 (Jan. 1858): 16 <a href="https://archive.org/details/sim_genesee-farmer_1858-01_19_1/page/16/mode/1up" target="_blank" rel="noopener">Courtesy of Internet Archive</a> Format The file format, physical medium, or dimensions of the resource jpeg, 599 KB jpeg, 79 KB Type The nature or genre of the resource Still image Farm Geneseo Migrant Center House migrant housing https://openvalley.org/files/original/d97af0856def0e205f9347cc8feabe31.jpg b2d45a7fe95edcffc161bdfd7f9f93e2 https://openvalley.org/files/original/d10559ab8570d542f0e84a1e149c718a.jpg 423c4354ef92f43a971c40492b4a7aff 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 photograph, map, drawing, painting, etc., and any additional data Bird's eye view 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 Lake Chautauqua Creator An entity primarily responsible for making the resource Matthews, Northrup & Co. Date A point or period of time associated with an event in the lifecycle of the resource 1885 Description An account of the resource Birds-eye view maps were very popular during the last two decades of the 19th century. This high-end version almost certainly owes its existence to the popularity of the Chautauqua Institution, founded in 1874 and pictured in the lower left foreground. The costs of creating and printing such documents presupposed investment by local merchants, buyers willing to purchase them, or both. In this pre-air-conditioned era lake resorts like those on Lake Chautaqua were popular destinations; we see railways and steamboats conveying visitors from many points of origin. Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived Retrieved from the Library of Congress, <a href="https://lccn.loc.gov/2003671709" target="_blank" rel="noopener"><www.loc.gov/item/2003671709/></a> Format The file format, physical medium, or dimensions of the resource jpeg, 822 KB jpeg, 4.6 MB Type The nature or genre of the resource Still image bird's eye view Chautauqua Institution Chautauqua Lake Jamestown, NY Watersheds https://openvalley.org/files/original/827bf24aba046962c6ef89c09f988eb5.jpg 775357fbc60b63e17b56fcda74fcbdc4 https://openvalley.org/files/original/2ffb4c6d3be71cc34fb40a2c7bc02583.jpg 84095f7409869f3171c4de30c656b77e 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 photograph, map, drawing, painting, etc., and any additional data Map 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 Lake Iroquois Creator An entity primarily responsible for making the resource Coleman, A. P. Date A point or period of time associated with an event in the lifecycle of the resource 1904 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived <a href="https://mdl.library.utoronto.ca/collections/scanned-maps/lake-iroquois" target="_blank" rel="noopener">University of Toronto Libraries</a> Format The file format, physical medium, or dimensions of the resource jpeg, 1.4 MB jpeg, 6.8 MB Description An account of the resource This map shows the approximate outline of a proglacial lake dating some 13,000 years ago, when the Laurentide ice sheet was in retreat and blocked water from flowing north into the North Atlantic Ocean. Instead, its outlet was diverted through present-day Rome and down the Hudson River. We see here the roughly similar footprints of Lakes Iroquois and the later Ontario, with another important difference being a ridge of gravel deposits resulting from the earlier lake. In Western New York, the ridge road was an important trail; modern-day SR 104 follows the same route. Type The nature or genre of the resource Still image Lake Iroquois Lake Ontario Ridge Road Watersheds https://openvalley.org/files/original/cc7842b10163fbf2e3e3079bc767207f.jpg 7a3892f8555b23cecdda906d0669c10e https://openvalley.org/files/original/0fa68d0139014032c6b1fcbcf1922e5d.JPG 0c61a2f534f53374bc25641926624781 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 New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. 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 photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 24 x 20 in. Condition: pitted, peeling, surface dirt 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 Landscape Description An account of the resource Because of its visible brush strokes, this painting is a highly impressionistic landscape of a rocky coastline meeting the sea. Here, the artist makes use of warm reds and browns to contrast the cool, refreshing quality of the ocean with the sturdy, homeliness of the Earth. About the Artist: Born in Odessa, Russia, Alexandrovich was trained in Belgium and France before immigrating to the US in 1925 (his citizenship sponsor was fellow marine artist <a href="http://www.askart.com/artist/Ragnar_Olson/102361/Ragnar_Olson.aspx" target="_blank" rel="noopener">Ragnar Olson</a>). At a 1939 show, his art was praised as “bringing to the painting of the sea a sympathetic understanding and a subtlety of expression that set his work apart....Unlike the majority of painters of the sea, he knows the value of mystery and suggestion, and yet with it all contrives to convey a sense of the ocean's resistless weight and might” (New York Sun 29 April 1939: 12). 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-15" target="_blank" rel="noopener">FAP</a>. Creator An entity primarily responsible for making the resource Alexandrovich, Albert, b. 1904 Date A point or period of time associated with an event in the lifecycle of the resource 1939? Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Noel, Ricky (biography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18102 Format The file format, physical medium, or dimensions of the resource jpeg, 605 KB jpeg, 4 MB Type The nature or genre of the resource Still Image Publisher An entity responsible for making the resource available Federal Art Project Albert Alexandrovich Federal Art Project New Deal New Deal Gallery painting https://openvalley.org/files/original/5d18dd0544eb9d8ab0f77e3335cfd23a.JPG dfddf0b6b8e22862a4b6153a3c41dcd0 https://openvalley.org/files/original/2334f01a05b2013028973f9885c31a7b.JPG fd6d7e73840fd4f4a343a4f49843b583 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 New Deal Gallery Description An account of the resource This collection of more than 200 paintings owes its existence to two primary causes: allocations from the Federal Art Project to a New York state tuberculosis sanatorium located at Mt. Morris--the landscapes and still lifes were thought to be restful--and to the committed volunteers who helped preserve the paintings after the hospital closed. For several decades the canvases were stored in non-climate-controlled basements; it appears that doctors and staff removed at least three dozen works as "keepsakes." Despite the seeming tranquility of the paintings, they were created by artists primarily from New York City whose background was more political and aesthetically adventurous than this rural location would indicate. <a href="https://openvalley.org/exhibits/show/green-new-deal/about" target="_blank" rel="noopener">Follow this hyperlink to a short introduction to the New Deal Gallery collection</a>. We're grateful to the Genesee Valley Council on the Arts for access to their collection, which has been re-photographed and appears here at two resolutions: a cropped, web-friendly file size of around 1 MB; and a high-resolution file including the painting's frame. Items in this collection were created according to a consistent format: a short description of each painting in formal terms, followed by a biography of each artist. Where possible we have supplied hyperlinks relevant to their lives and to other examples of their art. In order to better view them using the Omeka program, click on the "View All" option at the bottom of this page to access various sorting options. Date A point or period of time associated with an event in the lifecycle of the resource 1935-1940 Contributor An entity responsible for making contributions to the resource Cooper, Ken (project director) Ritz, Abigail (photography and project assistant) Additional research: Justin Anderson, Jessica Apthorpe, Jay Bang, Kristopher Bangsil, Julia Caldwell, Sydney Cannioto, Sabrina Chan, Paige Closser, Victoria Domon, Elana Evenden, Yadelin Fernandez, Michael Griffin, Madison Jackson, Niamh McCrohan, Ben Michalak, Ricky Noel, Elizabeth Ramsay, Skye Rose, Samantha Schmeer, John Serbalik, Marianna Sheedy, Emily Spina, Alison Stern, Ravenna VanOstrand, and Nicholas Vanamee. Special thanks to: Deborah Bump, Mark Calicchia, Elizabeth Harris, Melissa Moody, Rebecca Lomuto, and Mai Sato. 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 photograph, map, drawing, painting, etc., and any additional data Oil painting Physical Dimensions The actual physical size of the original image 29.5 x 23.5 in. Condition: canvas torn, surface dirt 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 Landscape Format The file format, physical medium, or dimensions of the resource jpeg, 805 KB jpeg, 14.2 MB Description An account of the resource Under a pale sky, we look uphill along a crooked line of split-rail fences and melting snow toward a pair of dormant trees and farm buildings. Bolton’s close attention to Catskill landscapes is apparent in his treatment of patterns in melting snow; his training in sculpture gives the saturated drifts convincing solidity. Interestingly, he paints one of the buildings and the hillside using a virtually identical color, as if to draw greater attention to forms. Poking up through the snow are what appear to be plant shoots in the same color. About the Artist: Born in Wallingford, CT, Bolton studied sculpture at Yale’s School of Fine Artis beginning in 1913. After visiting a friend in Woodstock, Bolton concluded it was where he belonged; his emphasis changed to the visual arts, although still retaining a sense of form and mass that was one of his work’s most distinctive characteristics. Over the years he was productive in painting, woodcuts, linoprints, and lithography. His work was exhibited in fine arts venues like the Corcoran Gallery and the Art Institute of Chicago while still retaining popular appeal—for example, self-published collections of Christmas cards. During many years of Woodstock Artists Association shows, his work appeared alongside NDG artists like Erna Lang, John Nichols, and Jo Rollo. In 1937 he assisted Charles Rosen in the <a href="https://livingnewdeal.org/projects/post-office-mural-beacon-ny/" target="_blank" rel="noopener">painting of several murals</a> for the Beacon, NY post office. 8 works at the <a href="https://collections.hvvacc.org/digital/collection/waam/search/searchterm/Bolton%2C%20Clarence/field/creatb/mode/exact/conn/and" target="_blank" rel="noopener">Woodstock Artists Association & Museum</a>. 9 works at the <a href="https://gallery.newarkmuseum.org/view/people/asitem/Objects@2526656/0/displayName-asc?t:state:flow=90cd978a-9309-40ba-b9bb-40a1b492ae24" target="_blank" rel="noopener">Newark Museum</a>. 2 works at the Metropolitan Museum of Art. Creator An entity primarily responsible for making the resource Bolton, Clarence [Wheeler], 1893-1962 Publisher An entity responsible for making the resource available Federal Art Project Date A point or period of time associated with an event in the lifecycle of the resource 1935 Contributor An entity responsible for making contributions to the resource Ritz, Abigail (photography) Cooper, Ken (biography) Source A related resource from which the described resource is derived New Deal Gallery, Genesee Valley Council on the Arts Object #FA18872 Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context 210 Clarence Bolton Federal Art Project Landscape Art New Deal Gallery painting https://openvalley.org/files/original/dea2951096d6c43ce78ed7a6c88176a9.jpg 48f4cfff755a66ca545329c9abbfe5bb 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 photograph, map, drawing, painting, etc., and any additional data Engraved illustration 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/. Format The file format, physical medium, or dimensions of the resource jpeg, 619 KB Title A name given to the resource Laying Out and Dividing Farms Description An account of the resource Lead image of a detailed article on the best ways to lay out a farm renders a bird's eye view of a house, barn and outbuildings, fruit orchard, flower garden, penned livestock, and a field under cultivation. In the foreground a horse and wagon pass by this orderly operation. Probably written for more affluent farmers, the article nevertheless becomes more granular in its advice than this simplified illustration. For example, even this pictorial view is informed by the principles of fields being relatively similar in size (for crop rotation), of keeping the fields nearly square (to minimize fencing), and creating a central farm road to access all of the fields. Publisher An entity responsible for making the resource available Luther Tucker & Son Date A point or period of time associated with an event in the lifecycle of the resource 1857 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived The Illustrated Annual Register of Rural Affairs 3 (1857): 309 Reprinted as The Illustrated Annual Register of Rural Affairs for 1855-6-7 (1886): 236 <a href="https://archive.org/details/gri_33125006136135/page/n236/mode/1up" target="_blank" rel="noopener">Courtesy of Internet Archive</a> Type The nature or genre of the resource Still image Agriculture bird's eye view landscape https://openvalley.org/files/original/71bfb5b4b5145cdcd44dd6e3d7aa903e.jpg bc852f2b2a6019accd675fcab9a98b10 https://openvalley.org/files/original/5ba595f0611ef2c341ecd4d230df44c7.gif 181a555d30d73d7a8cd70dccc83403ed 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 photograph, map, drawing, painting, etc., and any additional data Map Physical Dimensions The actual physical size of the original image 9.5 x 14 in. 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 Le Canada, ou Nouvelle France Description An account of the resource Full title of the map is "Le Canada, ou Nouvelle France, la Floride, la Virginie, Pensilvanie, Caroline, Nouvelle Angleterre et Nouvelle Yorck, l'Isle de Terre Neuve, la Louisiane, et le cours de la riviere de Misisipi." The title turns out to be important, because this map's radically foreshortened perspective is there to emphasize French claims in the New World--and to minimize those of the British, as seen via the size of its colonies. The Great Lakes are a central location on this map, just over a decade after the Denonville expedition. Nicolas de Fer was a cartographer better known for his striking graphics than for the accuracy of his maps. In addition to spatial manipulations, he makes a point of plotting French forts, trading posts, and (potential) Native American trading partners. In addition to the map, this item also includes a detail that has been used for an animated gif in the story map "Translations: Hosmer's 'Yonnondio'" Creator An entity primarily responsible for making the resource Fer, Nicolas de (1646-1720) [Cartographer] Loon, Herman van (fl. 1667-1674 ) [Engraver] Date A point or period of time associated with an event in the lifecycle of the resource 1702 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived New York Public Library Digital Collections: http://digitalcollections.nypl.org/items/510d47da-eebf-a3d9-e040-e00a18064a99 Type The nature or genre of the resource Map Format The file format, physical medium, or dimensions of the resource jpeg, 1.5 MB gif, 782 KB Denonville Great Lakes Map New France https://openvalley.org/files/original/3a0a9c1a12710225725d55baa540f828.jpg 7878770b1ae3c8e766f595753f876fdb https://openvalley.org/files/original/dd68c59dc80bb5ebc81dab21d0f10fb4.jpg 3e221e642c96d2407e95dd76b24eaacc 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 photograph, map, drawing, painting, etc., and any additional data Digital image 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 Le Ranz des Vaches Format The file format, physical medium, or dimensions of the resource jpeg, 190 KB jpeg, 151 KB Description An account of the resource This excerpt of a Swiss song appeared in a medical study on the phenomenon of nostalgia, usually glossed in English as "homesickness." A researcher named Johannes Hofer had coined the term in his 1688 dissertation, observing that Swiss mercenary troops sometimes fell ill during extended absences from their homeland. Here, Theodore Zwinger in 1710 extends the insight to a folk cowherding tune--Kühe-Reyen--played on an alpenhorn or sung. The power of that music alone was so evocative that it it evoked palpable longing and ennui for the familiar meadows. Publisher An entity responsible for making the resource available Zwinger, Theodore Date A point or period of time associated with an event in the lifecycle of the resource 1710 Contributor An entity responsible for making contributions to the resource Cooper, Ken Source A related resource from which the described resource is derived <a href="https://commons.wikimedia.org/wiki/File:Le_Ranz_des_Vaches_de_Zwinger.png" target="_blank" rel="noopener">Wikimedia Commons</a> Type The nature or genre of the resource Still image Music Nostalgia Solastalgia Switzerland