7 10 134 https://mail.slaverymonuments.org/files/original/56e5254fa8996cb53478d3d1fba9abb5.jpg ae95b7e112502e2591b30dbe27643406 https://mail.slaverymonuments.org/files/original/dec79cb901670083216ccd264a3014d1.jpg ec74fb87cb397aade350b7ebe0aa8249 https://mail.slaverymonuments.org/files/original/c246d2f1c3bc80c8fadcb2fb86548099.jpg fb44018e5098a74e45f295c47a0fb7dc https://mail.slaverymonuments.org/files/original/1ef7619aad0cc93ff94755289be82e11.jpg 3d941c1900d6b306143a74d37ec813c9 https://mail.slaverymonuments.org/files/original/41ab9e139d4cc9c02e48e74b89a7c180.jpg 9ba6328e83fd985908786565754c15b6 https://mail.slaverymonuments.org/files/original/57073ca3c32643c51dec4581a5e2415c.jpg e275ea1376111a7d7dedeb56c39495cb 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 Underground Railroad Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The memorial and monuments in this collection are dedicated to the Underground Railroad, an organized network of routes and safe houses that assisted freedom seekers [enslaved people] on their journeys northward. The Underground Railroad was part of the larger movement for the abolition of slavery in the United States. The movement to abolish slavery was a complicated political movement that, at its core, was driven by the resistance and activism of enslaved Black people and freedmen and women abolitionists. Historian Manisha Sinha explores the history of American abolition, including the Underground Railroad in The Slave's Cause: A History of Abolition (2016).  Although Harriet Tubman is the most famous conductor in the Underground Railroad, she is not the subject of the memorials featured in this collection (see the collection on this site, <a href="https://www.slaverymonuments.org/collections/show/1" target="_blank" rel="noopener">Black Abolitionists</a>, to view works specifically dedicated to her life and work). Rather the monuments and memorials featured here, such as Ed Dwight's <a href="https://www.slaverymonuments.org/items/show/1170" target="_blank" rel="noopener">Gateway to Freedom: International Memorial to the Underground Railroad</a>, highlight other prominent conductors, as well as celebrate the fortitude and bravery of the freedom seekers as they made the perilous journey north. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura 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 painting, sculpture, paper, photo, and additional data Sculpture 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 Freedom Crossing Monument (Lewiston, New York) Creator An entity primarily responsible for making the resource Geissler, Susan, 1953- Date A point or period of time associated with an event in the lifecycle of the resource October 14, 2009 Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Fugitive slaves--United States  New York (State)--Lewiston Public art Public sculpture Underground Railroad Subject (Name) Tryon, Josiah, 1798-1886 Clark, Margaret Goff, 1913-2003 Subject (Object Type) Commemorative sculpture Description An account of the resource The monument consists of five bronze sculptures. The subjects are a family of freedom seekers including a father, mother and baby; Lewiston's Underground Railroad Station Master, Josiah Tryon; and the fictional heroine, Laura Eastman, from the Freedom Crossing book. A rowboat is at the center of the composition with the mother seated in the boat as Tryon hands her the baby. Two figures stand on rock meant to suggest the banks of the lower Niagara River. Source A related resource from which the described resource is derived Photographs by Renée Ater Contributor An entity responsible for making contributions to the resource Town of Lewiston Council; Village of Lewiston Board of Trustees; The Margaret L. Wendt Foundation; KeyBank Foundation; Niagara River Greenway Commission; New York State Power Authority; Historical Association of Lewiston, Inc. Rights Information about rights held in and over the resource Historical Association of Lewiston, Inc., 469 Plain Street, Lewiston, New York, 14092 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque on boulder at front of memorial: A tribute to the enslaved who sought a new life of freedom in Canada and to the local volunteers who helped them on their journey to cross the Niagara River. The Underground Railroad was a secret network of trails and safe homes that enslaved Africian-Americans from the southern United States used to escape to Canada in the 1800's. The British Empire, including Canada, abolished slavery in 1834. Lewiston was one of the final stops on the Underground Railroad and despite breaking the law, many local residents volunteered to help the escapees reach freedom in Canada. This monument depicts the moment in time when fugitive slaves saw Canada for the first time after traveling hundreds of treacherous miles, avoiding slave catchers who were paid to capture and return them to the south. Handing the baby to the fugitive mother is Josiah Tryon (1798-1886) Lewiston's volunteer "Station Master" for the Underground Railroad. A man of simple means, Tyron was quiet, humble and religious. By secretly escorting escaping slaves to freedom in his row boat under the cover of darkness, he gave them hope and became a champion of justice and equality. He truly had a rainbow heart, embracing people of all colors and creeds. With her outstretched arm pointing to Canada, Laura Eastman is the iconic heroine in the historical fiction book, Freedom Crossing, which is read by thousands of elementary students throughout the United States every year. Laura has become a symbol of the triumph of the human spirit over oppression. (Copyright 1986 by Margaret Goff Clark, by permission of Scholastic, Inc.) Historical Association of Lewiston, Inc. Dedicated October 14, 2009 Medium The material or physical carrier of the resource. Bronze; Stone Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Ater, Renée. "NY State Network to Freedom: Freedom Crossing Monument, Lewiston." Renée Ater, On Monuments Blog. https://www.reneeater.com/on-monuments-blog/2019/10/31/ny-state-network-to-freedom-freedoms-crossing-monument-lewiston. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Lewiston Landing Park, North Water Street, Lewiston, New York, 14092, United States boat bronze figurative https://mail.slaverymonuments.org/files/original/8b5340ee5a4a6fecf588f15370c45d82.jpg 7b9623646024f316ab6fecb68be56212 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 Sites of Slavery Creator An entity primarily responsible for making the resource Written by Renée Ater Description An account of the resource For this thematic grouping, sites of slavery are designated as historic places (including plantations, wharves, archaeological sites) where "slavery happened" and that commemorate enslaved Africans, their lives, and their labor. We include sites that act as memorials and often have sculpture, public art, or monuments located on their grounds.  Founded in 2014 as a museum, the <a href="https://www.slaverymonuments.org/items/show/1218" target="_blank" rel="noopener">Whitney Plantation</a> educates the public about the history of slavery in Louisiana and the brutal production of sugar along the Mississippi River, between New Orleans and Baton Rouge. The historic plantation complex comprises twelve historic structures including slave cabins, a kitchen, a jail, and the main house. This site of slavery includes four memorials: The Wall of Honor, Allées Gwendolyn Midlo Hall, The Field of Angels, and the 1811 German Coast Uprising Memorials. Other sites of slavery include the <a href="https://www.slaverymonuments.org/items/show/1144" target="_blank" rel="noopener">ACTe Mémorial </a>in Pointe-à-Pitre, Guadaloupe, a memorial building and museum on the site of a former sugar plantation; the <a href="https://www.slaverymonuments.org/items/show/1164" target="_blank" rel="noopener">Valongo Wharf</a>, an archaeology site in Rio de Janeiro, Brazil, that was the debarkation point of an estimated 900,000 enslaved Africans; and the <a href="https://www.slaverymonuments.org/items/show/1152" target="_blank" rel="noopener">Mémorial de l'abolition de l'esclavage</a> in Nantes, France, on the Quai de la Fosse along the Loire River, the symbolic departure point of slave ships that sailed from France to Africa. Additional sites to be added include the Freedom Monument Sculpture Park along the Alabama River in Montgomery, Alabama, and the African Ancestors Memorial Garden at the International African American Museum located on Gadsden’s Wharf in Charleston, South Carolina. Note: All sites of slavery in West Africa can be found under the theme of the <a href="https://www.slaverymonuments.org/collections/show/14" target="_blank" rel="noopener">Transatlantic Slave Trade/Middle Passage.</a> Updated January 26, 2026 Contributor An entity responsible for making contributions to the resource Renée Ater 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 painting, sculpture, paper, photo, and additional data Building Physical Dimensions The actual physical size of the original image Building: 83,958 sq. ft (7,800m²) Gardens surrounding the museum: 5 acres (20,234m²) 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 Mémorial ACTe (Pointe-à-Pitre, Guadeloupe) Subject The topic of the resource Subject (Topic) Abolition of slavery Enslaved persons Guadeloupe--Pointe-à-Pitre Plantations Transatlantic slave trade Slavery--France Slavery--Guadeloupe Sugar--Social Aspects--History Subject (Object Type) Building and Structures Description An account of the resource Mémorial ACTe is located on the the site of the former Darboussier sugar refinery on the waterfront in Pointe-à-Pitre, Guadeloupe. "The memorial consists of an imposing elongated building that measures 240 meters and is covered with silver grids that represent the roots of the fig trees that grow on the abandoned buildings. At the entrance is the central patio where a metal monument stands representing a giant tree, which symbolizes the roots of Guadeloupean society. The museum, located inside the building, narrates the history of slavery in the Antilles and in America since the beginning of the 17th century through works of art, heritage pieces, video projections, sound environments and interactive tables that testify to the atrocities produced by slavery and human trafficking." ACTe Memorial-CIPDH-UNESCO, https://www.cipdh.gob.ar/memorias-situadas/en/lugar-de-memoria/memorial-acte/. Creator An entity primarily responsible for making the resource Guadeloupean Architectural Workshop: Pascal Berthelot (BMC) Jean-Michel Mocka-Célestine (BMC) Mikael Marton (Atelier Doré/Marton) Fabien Doré (Atelier Doré/Marton) Date A point or period of time associated with an event in the lifecycle of the resource July 7, 2015 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Building and Structures Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Darboussier, 97110, Rue Raspail, Pointe-à-Pitre, Guadeloupe Extent The size or duration of the resource. Building: 83,958 sq. ft (7,800m²) Gardens surrounding the museum: 5 acres (20,234m²) Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:Pointe-%C3%A0-pitre_ACTe_Memorial.jpg" target="_blank" rel="noopener">Wikimedia Commons</a> Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. CIPDH-UNESCO. "ACTe Memorial." Memorias Situadas: Sites of Memory Related to Serious Human Rights Violations. Accessed July 17, 2024. https://www.cipdh.gob.ar/memorias-situadas/en/lugar-de-memoria/memorial-acte/. Reffin, Alice. "Mémorial ACTe (Pointe-à-Pitre, Guadeloupe)" Contested Histories Occasional Paper XV (June 2025). Accessed February 8, 2026. https://contestedhistories.org/wp-content/uploads/OPXV_Memorial-Acte-Guadeloupe.pdf Viala, Fabienne. "The Memorial ACTe." In Postcolonial Realms of Memory: Sites and Symbols in Modern France, eds. Etienne Achille, Charles Forsdick, and Lydie Moudileno, 186-194. Liverpool University Press, 2020. Gosson, Renée. "Breaking Museal Tradition: Guadeloupe's Mémorial ACTe and the Scenography of Slavery." Histoire Sociale/Social History 53, no. 107 (May 2020): 179-194. Medium The material or physical carrier of the resource. Black granite; Aluminum; Stainless steel Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Centre Caribéen d’Expressions et de Mémoire de la Traite et de l’Esclavage (Caribbean Centre for Expressions and Memory of the Slave Trade and Slavery) Contributor An entity responsible for making contributions to the resource Luc Reinette, Comité International des Peuples Noirs (CIPN, International Committee of Black People); Victorin Lurel, Regional Council of Guadeloupe; Professor Jacques Adelaid–Merlande; Chambre Régionale des Comptes: Guadeloupe; François Confino and Véronique Rozen (interior); Etanco Group (building envelope) aluminum black granite stainless steel sugar trees https://mail.slaverymonuments.org/files/original/85f2c22f3913882a1462a440e8eddee0.jpg a998be6eb7300f8f288e97e9a90bfc0f 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 Emancipation Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The commemorative works under the theme of "Emancipation" include two different types of monuments and memorials: those focused on the end of slavery in the United States through the Emancipation Proclamation, and memorials to emancipation and liberation movements in the Caribbean. The forms of the monuments and memorials range from figurative sculpture such as <a href="https://www.slaverymonuments.org/items/show/1145" target="_blank" rel="noopener">Redemption Song</a> in Kingston, Jamaica; a series of gateways at the <a href="https://www.slaverymonuments.org/items/show/1214" target="_blank" rel="noopener">Camp Barker Memorial</a> located at Garrison Elementary School in Washington, DC; and the abstract forms of <a href="https://www.slaverymonuments.org/items/show/1162" target="_blank" rel="noopener">L'Arbre de la liberté</a> in Schoelcher, Martinique. Thomas Ball's <a href="https://www.slaverymonuments.org/items/show/1223" target="_blank" rel="noopener">Freedmen's Memorial to Abraham Lincoln </a>(1876) as well as Meta Warrick Fuller's <a href="https://www.slaverymonuments.org/items/show/1121" target="_blank" rel="noopener">Emancipation</a> (1913) are also included here as they represent early sculptural engagements with the theme in the United States. In the near future, we will add more commemorative works from the Caribbean to this theme including public art in Trinidad and Tobago, U.S. Virgin Islands, and Sint Maarten. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater 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 painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 354.331 x 125.984 in. (900 x 320 cm) 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'arbre de la liberté (Schoelcher, Martinique) Subject The topic of the resource Subject (Topic) Freedom Martinique--Schoelcher Public art Public sculpture Slavery--Martinique Resistance Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource Facing the Caribbean Sea, the memorial consists of eight abstracted forms, some of which are rectilinear and geometric, and others more curvilinear with rounded organic forms. The bronze figures are embellished with symbols, which according to the sculptor, represent "the spirit of the liberated man." Creator An entity primarily responsible for making the resource Guédon, Henri, 1944-2006 Date A point or period of time associated with an event in the lifecycle of the resource 2001 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Place des Arawaks, 97233 Schoelcher, Martinique Extent The size or duration of the resource. 354.331 x 125.984 in. (900 x 320 cm) Medium The material or physical carrier of the resource. Bronze; Concrete Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. "Les Arbre de la Liberté." Fédération Martiniquaise des Offices de Tourisme et Syndicats d'Initiative. Accessed May 28, 2019. http://www.accueil-martinique.fr/FR/visite-les-arbres-de-la-liberte_10037.html. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://terresducentremartinique.fr/sites-musees/larbre-de-la-liberte/" target="_blank" rel="noopener">Terres du Centre Martinique</a> Rights Information about rights held in and over the resource Mairie de Schoelcher, 3 rue Fessenheim, 97233 Schoelcher, Martinique abstract bronze concrete trees https://mail.slaverymonuments.org/files/original/5c14a352740f5f0171386213ac0e85d3.jpg 187f183b3c31c596341a12f45aa7b759 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 Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura 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 painting, sculpture, paper, photo, and additional data Sculpture 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 The Three Rebel Queens of the Virgin Islands (Charlotte Amalie, St. Thomas, USVI) Subject The topic of the resource Subject (Topic) Public art Public sculpture Resistance St. Thomas (USVI)--Charlotte Amalie Slave insurrections--St. Croix (USVI) Slavery--Denmark Slavery--St. Croix (USVI) Transatlantic slave trade Subject (Name) Thomas, Mary (Queen Mary), ca. 1838–1905 Salomon, Axeline E. (Queen Agnes), ca. 1858-? McBean, Matilda (Queen Matilda), ca. 1958-1935 Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial shows three women facing outward, the leaders of the "Fireburn" Uprising in 1878, the largest labor revolt in Danish colonial history. Dressed in floor-length dresses and aprons, each figure carries objects related to their resistance. One figure lifts a lantern in her right hand (Queen Agnes-Agnes Salomon) . The second figure holds a cane knife in her right hand and a torch in her left (Queen Mary-Mary Thomas), while the third figure holds a torch in her right hand (Queen Matilda-Matilda McBean). Creator An entity primarily responsible for making the resource Hallier, Richard, 1944-2010 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Dronningens Gade, Charlotte Amalie, St. Thomas 00802, U.S. Virgin Islands Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. The Three Queens of the Virgin Islands Fountain Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque: THE THREE QUEENS OF THE VIRGIN ISLANDS In 1878 three former slave ladies on St. Croix led an insurrection against the Danish Government for improved working and living conditions. During this action, a major portion of Frederiksted was destroyed by fire. This revolt is known today as “FIREBURN” and the ladies are renowned as “Queen Mary, Queen Agnes and Queen Matilda” – The Three Queens of the Virgin Islands. Medium The material or physical carrier of the resource. Bronze Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:The_Three_Rebel_Queens_of_the_Virgin_Islands.jpg" target="_blank" rel="noopener">Wikipedia Commons</a> Date A point or period of time associated with an event in the lifecycle of the resource 2005 Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. "Danish Colonies/The Danish West Indies/Fireburn." Nationalmuseet. Accessed January 27, 2026. https://en.natmus.dk/historical-knowledge/historical-themes/danish-colonies/the-danish-west-indies/fireburn/. Fireburn Files Project. Accessed January 27, 2026. https://fireburnfiles.dk/. Virgin Islands Studies Collective (VISC). "Ancestral Queendom: Reflections on the Prison Records of the Rebel Queens of the 1878 Fireburn in St. Croix, USVI (formerly the Danish West Indies." Nordisk Tidsskrift for Informationsvidenskab og Kulturformdling 8, no. 2 (2019): 19-36. Accessed January 27, 2026. https://tidsskrift.dk/ntik/article/view/118478/166419. bronze figurative lantern machete (knife) https://mail.slaverymonuments.org/files/original/6b093ae1fd52b7a92b50eb6b936d2f1d.jpg a6e5b4ec536e158c0bf5f948095d34eb https://mail.slaverymonuments.org/files/original/00a6f3efc60a043d7f6f9bdf2277315f.jpg ba153d0b21b8e5930add22fc3e37ea79 https://mail.slaverymonuments.org/files/original/dd22b8e4720dcd4a87c819191a193066.jpg e00a2ebd83c43ce55dee6c7393a8bb90 https://mail.slaverymonuments.org/files/original/56f4c3f6db9339902f999ab81b97cb82.jpg 78f3d7d6a16d1280758d4468fef94266 https://mail.slaverymonuments.org/files/original/4fd57e013d5c1a19d48595ffddac2370.jpg 298111d7d9d2cd6ad6b666b739fa3384 https://mail.slaverymonuments.org/files/original/8093fac7cf7bee762792207ec130ae36.jpg 3c2312a804ceb1d2e4ab6167f7e4ed73 https://mail.slaverymonuments.org/files/original/2dd27dd351d4ace80f6008a9fbf29776.jpg ce1e15347ccc816bfd8b6229cdc345fc https://mail.slaverymonuments.org/files/original/af4a4fbed68f01d081b7164765e21c6f.jpg 7d234d45488ebb1f0f8552cfb013fad9 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 United States Colored Troops (USCT) Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource Included in this thematic collection are seventeen memorials that honor the vital contributions of the United States Colored Troops (USCT) to the Union victory during the American Civil War. The first all-Black units formed unofficially in Louisiana (Louisiana Native Guard, 1862); South Carolina (First South Carolina Volunteer Infantry, 1862-63); and Kansas (First Kansas Colored Infantry, 1862-63). The first official authorization to employ African Americans in federal service was the Second Confiscation and Militia Act of July 17, 1862. The Confiscation Act allowed Union officers to free enslaved men and put them to work as army laborers. However, Abraham Lincoln did not fully authorize the use of Black men in combat until the issuance of the Emancipation Proclamation on January 1, 1863. Beginning in late January 1863, Governor John A. Andrews of Massachusetts raised the first regiment of Black soldiers in the North, the Massachusetts 54th Volunteer Infantry. The abolitionist Frederick Douglass helped recruit men for the Massachusetts 54th, famously issuing a call to free African American men to join the Union Army. In a speech, “Men of Color, To Arms!”, delivered in Rochester, New York on March 2, 1863, Douglass urged his fellow free men of color to fight for the end of slavery and for their freedom: "By every consideration which binds you to your enslaved fellow-countrymen, and the peace and welfare of your country; by every aspiration which you cherish for the freedom and equality of yourselves and your children; by all the ties of blood and identity which make us one with the brave black men now fighting our battles in Louisiana and in South Carolina, I urge you to fly to arms, and smite with death the power that would bury the government and your liberty in the same hopeless grave." On May 22, 1863, the U.S. War Department issued General Order No. 143, authorizing the creation of the Bureau of Colored Troops. By the end of the Civil War, over 200,000 men, including white officers, served in 175 regiments of the USCT, which made up ten percent of the Union army. The compiled military records of the men who served in the USCT can be found in the National Archives and Records Administration. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater 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 painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 108 in. (274.32 cm) 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 “Spirit of Freedom”: African American Civil War Memorial (Washington, DC) Subject The topic of the resource Subject (Topic) African Americans--History Public art Public sculpture United States Colored Troops Washington (D.C.) Subject (Object Type) Commemorative sculpture Description An account of the resource Located in Washington, DC, the semicircular bronze statue by Ed Hamilton depicts three African American infantrymen and one sailor. The soldiers grasp the barrels of their rifled muskets, while the sailor holds a ship’s wheel. The soldiers wear the standard Union army uniform—a forage cap, a light coat, and trousers—while the sailor wears a federal Navy flat hat, a wool frock, and trousers.  Overlooking the group is a personification of the "Spirit of Freedom,” rendered as a shrouded, angelic figure whose face tilts upward, eyes closed, and whose crossed hand rest on the chest. On the back of the monument in bas-relief, an African American soldier is joined by six members of his multigenerational family—his wife, three children, and his parents—who gather around him as he prepares to go off to war. Creator An entity primarily responsible for making the resource Hamilton, Ed, 1947- Source A related resource from which the described resource is derived Photographs by Renée Ater Wide-angle photograph: National Gallery of Art Date A point or period of time associated with an event in the lifecycle of the resource July 18, 1998 Contributor An entity responsible for making contributions to the resource The African American Civil War Memorial Freedom Foundation; National Park Service Rights Information about rights held in and over the resource National Park Service, 1849 C Street, NW, Washington, DC, 20240, United States Relation A related resource African American Civil War Memorial Museum, Washington, DC Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1925 Vermont Avenue, NW, Washington, DC, 20001, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on granite base:  Civil War to Civil Rights and Beyond. This Memorial is dedicated to those who served in African American units of the Union Army in the Civil War. The 209,145 names inscribed on these walls commemorate those fighters of freedom. Extent The size or duration of the resource. 108 in. (274.32 cm) Medium The material or physical carrier of the resource. Bronze; Pink granite; Stainless steel Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Ater, Renée. "Remembering and Commemorating the United States Colored Troops: The African American Civil War Memorial in Washington, DC." In Tell It With Pride: The 54th Massachusetts Regiment and Augusts Saint-Gaudens' Shaw Memorial, by Sarah Greenough and Nancy Anderson, 112-126. Yale University Press, 2013. Alan Skerrett, Jr, ed. "Monuments to the United States Colored Troops (USCT) [African American Civil War Soldiers: The List." Jubilo! The Emancipation Century Blog, May 30, 2011. Accessed February 11, 2026. https://jubiloemancipationcentury.wordpress.com/2011/05/30/monuments-to-the-united-states-colored-troops-usct-the-list/. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater bas-relief bronze Civil War figurative granite inscription memorial wall names stainless steel https://mail.slaverymonuments.org/files/original/7a209a02b934d468734c38e1d233cdd0.jpg cf3e22d46f30d9288228a02b2b1631ad 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 United States Colored Troops (USCT) Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource Included in this thematic collection are seventeen memorials that honor the vital contributions of the United States Colored Troops (USCT) to the Union victory during the American Civil War. The first all-Black units formed unofficially in Louisiana (Louisiana Native Guard, 1862); South Carolina (First South Carolina Volunteer Infantry, 1862-63); and Kansas (First Kansas Colored Infantry, 1862-63). The first official authorization to employ African Americans in federal service was the Second Confiscation and Militia Act of July 17, 1862. The Confiscation Act allowed Union officers to free enslaved men and put them to work as army laborers. However, Abraham Lincoln did not fully authorize the use of Black men in combat until the issuance of the Emancipation Proclamation on January 1, 1863. Beginning in late January 1863, Governor John A. Andrews of Massachusetts raised the first regiment of Black soldiers in the North, the Massachusetts 54th Volunteer Infantry. The abolitionist Frederick Douglass helped recruit men for the Massachusetts 54th, famously issuing a call to free African American men to join the Union Army. In a speech, “Men of Color, To Arms!”, delivered in Rochester, New York on March 2, 1863, Douglass urged his fellow free men of color to fight for the end of slavery and for their freedom: "By every consideration which binds you to your enslaved fellow-countrymen, and the peace and welfare of your country; by every aspiration which you cherish for the freedom and equality of yourselves and your children; by all the ties of blood and identity which make us one with the brave black men now fighting our battles in Louisiana and in South Carolina, I urge you to fly to arms, and smite with death the power that would bury the government and your liberty in the same hopeless grave." On May 22, 1863, the U.S. War Department issued General Order No. 143, authorizing the creation of the Bureau of Colored Troops. By the end of the Civil War, over 200,000 men, including white officers, served in 175 regiments of the USCT, which made up ten percent of the Union army. The compiled military records of the men who served in the USCT can be found in the National Archives and Records Administration. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater 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 painting, sculpture, paper, photo, and additional data Sculpture 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 The 29th Colored Regiment Monument (New Haven, Connecticut) Subject The topic of the resource Subject (Topic) African Americans--History Connecticut--New Haven Public art Public sculpture United States Colored Troops Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial features a black granite obelisk, partially encircled by eight stone markers featuring the names of the members of the 29th Colored Regiments. The obelisk itself includes images and/or texts on all four sides. The west side features a bronze plaque with a bronze bas-relief that depicts soldiers carrying the flag of the 29th Regiment and the U. S. flag. The plaque also shows the unit’s dates of engagement and the names of those killed in battle or who died of disease. The south side of the obelisk gives a history of the regiment. The east side presents two photographs etched into the granite of Alexander H. Newton and Daniel S. Lathrop, the two members who achieved the unit’s highest rank of sergeant major. The north side includes the work’s dedicatory information. Creator An entity primarily responsible for making the resource Hamilton, Ed, 1947- Date A point or period of time associated with an event in the lifecycle of the resource September 20, 2008 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Criscuolo Park, Chapel and James Streets, New Haven, Connecticut, 06513, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on the west face of the obelisk: The Connecticut Twenty-Ninth Colored Regiment C.V. Infantry Battle Engagements New Market Road-- October 13, 1864 Darbytown Road--October 13, 1864 Kell House/Fair Oaks-- October 27-28, 1864 Chaffins Farm-- September 29, 1864 Petersburg-- September 24, 1864 Richmond-- September 29, 1863 Officers died of disease: 1 Officer killed or mortally wounded: 1 Enlisted men killed or mortally wounded: 44 Enlisted men died of disease or accident: 152 Inscription on the south face of the obelisk: History of Regiment Recruiting for the 29th Regiment Connecticut Volunteers Colored began early in the autumn of 1863. Most of the men came to the regiment for training at a place called Grapevine Point now called Criscuolo Park. This part is located at East Chapel Street and James Street. The 29th Connecticut Infantry was organized at Fair Haven and mustered in on 8 March 1864. On this date, the regiment was formally mustered into the service of the United States. On March 4th LT. Colonel William B. Wooster, Formerly of the 20th Connecticut Volunteers assumed command of the regiment. On March 19th, the regiment formed in line, and after the presentation of a flag by the Colored Ladies of New Haven, marched on board the transport “Warrior”. On March 10th, the regiment sailed out of the New Harbor and disembarked an Annapolis, Maryland. Service Moved from Beaufort, SC to Bermuda Humored, VA 8-13 August 1864, Siege operations against Petersburg and Richmond 13 August 1864 to 2 April 1864. Inscription on the north face of the obelisk: Dedicated By the Descendants of the Connecticut 29th Colored Regiment C.V. Infantry 2008 Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Tedeschi, Bob. "An Honor for Troops Who Withstood Dishonor." New York Times, August 29, 2008. Accessed January 23, 2019. https://www.nytimes.com/2008/08/31/nyregion/nyregionspecial2/31colct.html. Alan Skerrett, Jr, ed. "Monuments to the United States Colored Troops (USCT) [African American Civil War Soldiers: The List." Jubilo! The Emancipation Century Blog, May 30, 2011. Accessed February 11, 2026. https://jubiloemancipationcentury.wordpress.com/2011/05/30/monuments-to-the-united-states-colored-troops-usct-the-list/. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://en.wikipedia.org/wiki/29th_Colored_Regiment_Monument#/media/File:29th_Colored_Infantry_Monument_Front1.jpg" target="_blank" rel="noopener">Wikipedia</a> Contributor An entity responsible for making contributions to the resource Descendants of the Connecticut 29th Colored Regiment C.V. Infantry 2008 Rights Information about rights held in and over the resource Arts, Culture & Tourism, City of New Haven, 165 Church Street, 2nd Floor, New Haven, Connecticut, 06510, United States Medium The material or physical carrier of the resource. Black granite bas-relief black granite Civil War inscription names obelisk https://mail.slaverymonuments.org/files/original/91fe9f6c3146000c29633aa2e7893a9f.jpg a39b736a88c49d6001747cc3733ef266 https://mail.slaverymonuments.org/files/original/8167c9f26a5a52ac6ff99320a4f8944b.jpg cf131b4c53b9f51be7224bac52ceca77 https://mail.slaverymonuments.org/files/original/6a1c6ac6dd9c3004afe33617e82a8079.jpg 16280465cf6ca1090e06be70fea3a3ef https://mail.slaverymonuments.org/files/original/8df8ab2d4d95eb031abf60466b382e21.jpg 8dc7c7f88e9cf710b6ea67519cccb85a 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 Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura 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 painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 168 in. (426.72 cm) 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 Amistad Memorial (New Haven, Connecticut) Subject The topic of the resource Subject (Topic) Amistad Mutiny Antislavery movements--United States Connecticut--New Haven Public art Public sculpture Resistance Slave insurrections Slavery--United States Transatlantic slave trade Subject (Name) Pieh, Sengbe (Joseph Cinque), ca. 1814-ca. 1879 Subject (Object Type) Commemorative sculpture Description An account of the resource The Amistad Memorial centers around a large bronze triangular prism adorned with sculptural reliefs, depicting scenes from the life of Sengbe Pieh. In 1839 Pieh led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad. The Amistad was seized off the coast of Long Island, NY, by the US brig, Washington and the Africans on board were imprisoned on charges of murder. The case went to the US Supreme Court, where Pieh and his fellow Africans were found to have rightfully defended themselves as they were free individuals, having been kidnapped and transported illegally. The memorial stands on the site of the New Haven jail, where Pieh and the other Amistad Africans were held during their trials. The three sides of the sculpture depict the life of Pieh: the first side shows him as a young man in Africa; the second side depicts his court trials, and the third side shows Pieh after he won his freedom. A fourth side of the sculpture, only visible from the upper floors of City Hall, includes images of disembodied hands emerging from ocean waves, a reminder of the thousands who perished during the Middle Passage. Pieh's famous courtroom statement, "make us free" is inscribed on the work’s granite base. The memorial rests atop a squared platform, which was inserted into a purpose-built recessed space added to City Hall during a 1990 renovation. Creator An entity primarily responsible for making the resource Hamilton, Ed, 1947- Date A point or period of time associated with an event in the lifecycle of the resource September 18, 1992 Contributor An entity responsible for making contributions to the resource The Amistad Committee, Inc. Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant New Haven City Hall, 165 Church Street, New Haven, Connecticut, 06510, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on base: This monument is a memorial to the 1839 Amistad Revolt and its leader, Sengbe Pieh, also known as Joseph Cinque. Sengbe Pieh was one of the millions of Africans kidnapped from their homes and transported in bondage to the Americas. Sold into slavery in Cuba, he and forty-eight other men, and four children were bound aboard the schooner La Amistad. During a storm, Sengbe Pieh successfully freed himself and his fellows. The Africans seized the ship, but their offers to steer La Amistad homeward were thwarted. After futile weeks at sea, they were captured off Long Island by the U.S.S. Washington. Inscription on base: On this site, the Amistad Africans were jailed awaiting trial for piracy and murder. To aid their struggle for freedom, the Amistad Committee formed, counting in its number ministers Simeon Jocelyn, Joshua Leavitt, and James Pennington; merchant Lewis Tappan; professor Josiah Gibbs; and lawyer Roger Baldwin. The Africans were tried twice prior to their ultimate triumph before the United States Supreme Court, where former President John Quincy Adams courageously defended them. Sengbe Pieh and his fellows were declared Free Persons. Inscription on base: "Make Us Free" The Africans sought to return home. To raise funds for their voyage and to further the anti-slavery cause, they engaged in a series of speaking tours. In 1841, after a sojourn that profoundly influenced the abolitionist movement, they set sail, free at last. To commemorate the heroism of the Amistad Africans and those who shared in their quest for freedom, the 1989 Amistad Committee commissioned his sculpture by Ed Hamilton and dedicated it on September 26, 1992. Extent The size or duration of the resource. 168 in. (426.72 cm) Medium The material or physical carrier of the resource. Bronze; Granite Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Hernandez, Esteban. "New Haven to Celebrate 175th Anniversary of Amistad, the Slave Ship that Led to Freedom." New Haven Register, March 5, 2016. Accessed April 12, 2019. https://www.nhregister.com/connecticut/article/New-Haven-to-celebrate-175th-anniversary-of-11338269.php. Macaluso, Laura A. Art of the Amistad and The Portrait of Cinqué. American Association of State and Local History Book Series, 2016. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photographs by Renée Ater Rights Information about rights held in and over the resource Department of Arts, Culture, and Tourism, City of New Haven, 165 Church Street, 6th Floor, New Haven, Connecticut, 06510, United States bird black granite book bronze figurative inscription portrait https://mail.slaverymonuments.org/files/original/ec1a069eadbc21d8c348bc1b4fb8970e.jpg 92131a262cf2396b9b34373816b042c9 https://mail.slaverymonuments.org/files/original/698b7316a02f08443dd3dc7be62688cc.jpg 31ec429c9e4f678df3bcc84e9c0a8c93 https://mail.slaverymonuments.org/files/original/0cd139b5bfd162a279fdfb33d191441f.jpeg 52171053d96e1209b06537f5a9063355 https://mail.slaverymonuments.org/files/original/cd063aca98205c8092a306c4c5248c02.jpg 473568dbae0ab13a8b85ff31df058420 https://mail.slaverymonuments.org/files/original/4e9683b2a5b1054cd85b9ff2b07b3b49.jpeg 529856a29f2feba92d256bfba13715da https://mail.slaverymonuments.org/files/original/2eeee21c77693600ba1a00c42869cd8f.jpeg 92827905be0379b4e89f4bf62c326626 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 Black Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 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 painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 90.55 in. (230 cm) 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 Harriet Tubman (Auburn, New York) Subject The topic of the resource Subject (Topic) Antislavery movements New York (State)--Auburn Public art Public sculpture Underground Railroad Subject (Name) Tubman, Harriet, 1822-1913 Subject (Object) Commemorative sculpture Description An account of the resource The seven-and-half foot tall (2.3 meters) bronze statue represents a young Harriet Tubman, traveling on the Underground Railroad. Clothed in nineteenth-century shawl, jacket, pleated skirt, and a pistol tucked into her satchel. Tubman strides forward with her booted foot visible below the hem of her skirt. She extends her left hand behind her as if signaling to an invisible group to follow closely on the arduous route to Canada. In her right hand, she holds the ring of a lantern, illuminating the pathway to freedom. Creator An entity primarily responsible for making the resource Hanlon, Brian P., 1961- Source A related resource from which the described resource is derived Photographs by Renée Ater Date A point or period of time associated with an event in the lifecycle of the resource November 13, 2018 Contributor An entity responsible for making contributions to the resource George and Mary Cuthbert Family; Harriet Tubman Downtown Memorial Committee; Celebrate! Diverse Auburn; Harriet Tubman Boosters Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant New York State Equal Rights Heritage Center, 25 South Street, Auburn, New York, 13021, United States Has Part A related resource that is included either physically or logically in the described resource. Stainless steel plaque: "I was the conductor on the Underground Railroad for eight years, and I can say what most conductors can't say -- I never ran my train off the track and I never lost a passenger." Harriet Tubman at a suffrage convention, NY, 1896 Harriet Tubman statue donated by the George and Mary Cuthbert family in honor of Edward L. Cuthbert Jr. who believed that Harriet's life was an inspiration to all of humankind. Dedicated November 2018 Sculptor Brian P. Hanlon Medium The material or physical carrier of the resource. Bronze Extent The size or duration of the resource. 90.55 in. (230 cm) Rights Information about rights held in and over the resource New York State Equal Rights Heritage Center, 25 South Street, Auburn, New York, 13021, United States Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Ater, Renée. "NY State Network to Freedom: Harriet Tubman Statue and Equal Rights Heritage Center, Auburn." On Monuments Blog, April 27, 2020. https://www.reneeater.com/on-monuments-blog/2020/4/17/ny-state-network-to-freedom-harriet-tubman-statue-and-equal-rights-heritage-center-auburn. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Monument and Myth: Commemorating Harriet Tubman and the Underground Railroad bronze figurative lantern pistol https://mail.slaverymonuments.org/files/original/4117d64fb952ea6436cab2d90162e816.jpg 18e7ca6b0c0aee9ef2f8afe3dae85cbf 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 painting, sculpture, paper, photo, and additional data Sculpture 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 Slavery Memorial (Cambridge, Massachusetts) Subject The topic of the resource Subject (Topic) Enslaved persons Harvard Law School Massachusetts--Cambridge Slavery--Massachusetts Subject (Object) Commemorative sculpture Description An account of the resource The Slavery Memorial at Harvard Law School consists of a large boulder with a bronze plaque inset into it. The plaque reads: “In honor of the enslaved whose labor created wealth that made possible the founding of Harvard Law School. May we pursue the highest ideals of law and justice in their memory.” Creator An entity primarily responsible for making the resource Harvard Law School Source A related resource from which the described resource is derived Photograph: <a href="https://www.nytimes.com/2022/09/12/us/harvard-slavery-reparations-ancestors.html" target="_blank" rel="noopener">Vanessa Leroy for The New York Times</a> Date A point or period of time associated with an event in the lifecycle of the resource September 5, 2017 Contributor An entity responsible for making contributions to the resource Harvard Law School: Martha Minow, John F. Manning, Annette Gordon-Reed, and Janet E. Halley Rights Information about rights held in and over the resource Harvard Law School, 1585 Massachusetts Avenue, Cambridge, Massachusetts, 02138, United States Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Crossroads (plaza between Langden Hall and Caspersen Student Center), Harvard Law School, Cambridge, Massachusetts, 02138, United States Medium The material or physical carrier of the resource. Stone; Bronze Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Wright, Kim. “Harvard Law School Unveils Memorial Honoring Enslaved People Who Enabled Its Founding.” Harvard Law Today, September 5, 2017. Accessed January 24, 2026, https://hls.harvard.edu/today/harvard-law-school-unveils-memorial-honoring-enslaved-people-contributed-founding/. Halper, James D. “Law School Unveils Slavery Monument, Reflects History.” The Harvard Crimson, September 6, 2017. Accessed January 24, 2026, https://www.thecrimson.com/article/2017/9/6/hls-plaque-honors-slaves/. Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque affixed to boulder: In honor of the enslaved whose labor created wealth that made possible the founding of Harvard Law School May we pursue the highest ideals of law and justice in their memory inscription stone https://mail.slaverymonuments.org/files/original/1da4af73f64d430d673c799eea793338.jpeg 2c89316a1c15f54cb0d5500fbcb39885 https://mail.slaverymonuments.org/files/original/dadbed17e1b9aa8d6cfd43521ea52c89.jpeg ba2f6b65d2c1f778251268d4f470ebfb https://mail.slaverymonuments.org/files/original/dae99574dbb8f525f6470c09fd926cc4.jpeg f0637698787987ee82b2a45bd8acf708 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 painting, sculpture, paper, photo, and additional data Sculpture 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 Black Brigade Monument (Cincinnati, Ohio) Subject The topic of the resource Subject (Topic) African Americans--History Black Brigade of Cincinnati Ohio--Cincinnati United States--History--Civil War, 1861-1865 Subject (Name) Dickson, William Martin, 1827-1889 Jones, Marshall P. H., 1826-1891 Subject (Object) Commemorative sculpture Description An account of the resource This monument consists of three life-size bronze sculptural groupings, relief panels detailing the history of the Black Brigade of Cincinnati, and the 718 names of the soldiers of the Black Brigade etched in the pink granite beneath the bas-reliefs. The first sculptural group consists of a bronze wooden desk with an accompanying chair. Atop the desk is a copy of the Cincinnati Daily Gazette from September 2, 1862. The headline reads: “TO ARMS! Mayor George Hatch Calls for the Defense of Cincinnati!” Engraved on the wall behind this sculptural group are the words: “THE BLACK BRIGADE OF CINCINNATI.” The second bronze sculptural group, Mothers and Children Anxiously Awaited Return of Their Loved Ones by Carolyn Manto, depicts a mother sitting on the ground with her left arm resting on her propped leg. She holds a young Black boy in her right arm. The boy looks at his mother as he points his right finger forward. The third bronze sculptural group features two men—Black Brigade member Marshall P.H. Jones in uniform and Colonel William M. Dickson. As they face each other, the two men’s hands overlap as Jones presents a ceremonial sword to the Colonel. Creator An entity primarily responsible for making the resource Hebenstreit, John, 1972- Manto, Carolyn, 1979- Source A related resource from which the described resource is derived Photographs: <a href="https://www.hmdb.org/m.asp?m=244949" target="_blank" rel="noopener">Historical Marker Database</a> Date A point or period of time associated with an event in the lifecycle of the resource September 9, 2012 Contributor An entity responsible for making contributions to the resource Design and Art: Jan Brown Checco, Erik Brown, Tyrone Williams, and Sasaki Associates. Sponsors: Honorable Mr. William Mallory Sr. and Cincinnati Park Board. Funding: Carol Ann and Ralph V. Haile, Jr., US Bank Foundation, City of Cincinnati, Cincinnati Parks Foundation, and U.S. Department of Housing and Urban Development. Foundry: Casting Arts Technology Rights Information about rights held in and over the resource Cincinnati Parks Foundation, 421 Oak Street, Cincinnati, Ohio, 45219, United States Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Smale Riverfront Park, 8 West Mehring Way, Cincinnati, Ohio, 45202, United States Medium The material or physical carrier of the resource. Bronze Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Cincinnati Parks Foundation. “Art in Your Parks: Black Brigade Monument- Cincinnati Parks Foundation.” April 6, 2021. Accessed October 10, 2024. https://cincinnatiparksfoundation.org/art-in-your-parks-black-brigade-monument/. National Underground Railroad Freedom Center. “The Black Brigade of Cincinnati. Accessed October 10, 2024. https://freedomcenter.org/black-brigade/. Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque for Carolyn Manto statue: Mothers and Children Anxiously Awaited the Return of Their Loved Ones Sculpture by Carolyn Manto Bronze plaque for John Hebenstreit statues: Colonel William Dickson Receives a Sword from the Black Brigade Sculpture by John Hebenstreit Inscription on dedication plaque: This monument to the Black Brigade of Cincinnati was conceived and realized by the following team: Sponsors Honorable William Mallory Sr. Cincinnati Park Board Design & Art Team Jan Brown Checco, Erik Brown, John Hebenstreit, Carolyn Manto, Tyrone Williams and Sasaki Associates Funding Carol Ann and Ralph V. Haile, Jr. and US Bank Foundation, City of Cincinnati, Cincinnati Parks Foundation, U.S. Department of Housing and Urban Development "Cincinnati educator Peter Clark was commissioned by the Black Brigade to document their story. This made it clear to me that the Brigade wished for future generations to know about their contribution to the Defense of Cincinnati. I am pleased that this monument was created by the Cincinnati Park Board and the Cincinnati Parks Foundation." --William L. Mallory Sr., Former Majority Floor Leader Ohio House of Representatives Inscriptions on eleven bronze plaques along the relief wall: White Volunteers Enlist to Defend Cincinnati Thousands of local men report to volunteer to help build and defend fortifications in Cincinnati and Northern Kentucky. They are joined by twelve thousand volunteer militia from all over the state of Ohio. Asking if they can serve, Cincinnati's African American residents are told they are not welcome to participate in home defense. The word on the street: "Stay away! This is a white man's war." Black Men are Taken from Their Homes The locally organized Provost Guard decides to forcibly press black men into service by whatever means necessary. Hundreds of Cincinnati's black residents are dragged from their homes and marched off like felons, but to where and for what, none can tell. Families are left to wait and worry. Hundreds of Black Men Await Their Fate on the Banks of the Ohio Herded into mule pens, the prisoners seat themselves on the shaded side of the yard on blocks of wood and piled up bricks. William Homer, captain of the conscription squads, orders all to rise, marches them to the Ohio River northern banks, and orders them to squat. He tells the guard, “Shoot the first one who rises.” Cincinnati Daily Gazette Wednesday Morning, September 3, 1862 The Press Reports the Abuse of Black Men Reading about the abuse of black men in the morning paper, Judge William M. Dickson goes to see General Wallace who made at the same moment, "…the order commanding him to take charge of the colored people in Cincinnati, Covington and Newport, directing all officers to obey him accordingly." The Gazette alone protests these warrantless arrests of free black men, denied the dignity of voluntary service in defense of freedom. Union General Lew Wallace Sends Dickson to Reverse the Action Colonel Dickson rides directly to Fort Mitchel to organize the black laborers, and brutality gives way to fair treatment. The men are immediately returned to their homes to allay the fears of their families and to prepare themselves for voluntary service. Those who are willing are asked to report at five o'clock the next morning to return to work on the fortifications. Black Men Muster into Service On Friday morning over seven hundred men report for duty, three hundred more than had been previously abducted by the Provost Guard. Glowing with enthusiasm, they march cheerfully to their duty. Receiving the treatment of men, they are ready for anything. Ready for Departure, the Volunteers Are Given a Flag I have the kind permission of your commandant, Colonel Dickson, to hand you this national flag - to encourage and cheer you on to duty. The duty of the hour is work - hard, severe labor on the fortifications of the city. Let it be cheerfully undertaken. Men of the Black Brigade, rally around your flag! Assert your manhood, be loyal to duty, be obedient, hopeful, patient. Slavery will soon die; There will then be a land of the free - one destiny. - Captain James Lupton The Works of the Black Brigade "Their work has been entirely voluntary. Wherever they appear they are cheered by our troops. One of the companies is officered by white captains, the others by black volunteers. The latter proved so decidedly superior that both regiments will hereafter be commanded by officers of their own race." - from a letter in the Cincinnati Herald The Best Defense: Be Prepared Confederate troops arrived at the line of defense on September 11 They discovered the fortifications, and 70,000-armed defenders. Deciding not to attack, they withdrew on September 13. Returning Home in Glory The men with happy hearts, with the good will of soldier and citizen, returned to the city and were dismissed to their homes. And thus closed, in joy and happiness, a service that had been commenced with violence, in anxiety and gloom. --Colonel William Dickson Presenting a Sword to Colonel Dickson Sir, the members of the Black Brigade deeply thank you for the great interest you have taken in our welfare, for your collecting all of the working parties into one brigade, for the kindness you have manifested to us in these trying times. As a small expression of the high esteem of the members of the Black Brigade, they all, each and every one, present you with this sword, the emblem of protection, knowing that, whenever it is drawn, it will be drawn in favor of freedom. --Marshall P.H. Jones bas-relief bronze figurative inscription poetry