This is the first book-length account of the pioneering and prolific Kellogg family of lithographers, active in Connecticut for over four decades. Daniel Wright Kellogg opened his print shop on Main Street in Hartford five years before Nathaniel Currier went into a similar business in New York and more than twenty-five years before Currier founded his partnership with James M. Ives, yet Daniel and his brothers Elijah and Edmund Kellogg have long been overshadowed by the Currier & Ives printmaking firm. Editor Nancy Finlay has gathered together eight essays that explore the complexity of the relationships between artists, lithographers, and print, map, and book publishers. Presenting a complete visual overview of the Kelloggs' production between 1830 and 1880, Picturing Victorian America also provides museums, libraries, and private collectors with the information needed to document the Kellogg prints in their own collections. The first comprehensive study of the Kellogg prints, this book demands reconsideration of this Connecticut family's place in the history of American graphic and visual arts.CONTRIBUTORS: Georgia B. Barnhill, Lynne Zacek Bassett, Candice C. Brashears, Nancy Finlay, Elisabeth Hodermarsky, Richard C. Malley, Sally Pierce, Michael Shortell, Kate Steinway.

This paper takes as its starting point the theory that Eskimos came to the Americas from Paleolithic Europe, then compares the artwork of both cultures to see if there are any similarities to support this hypothesis.

In this article Harriet Boyd Hawes, groundbreaking archaeologist, nurse, and relief worker, suggests that the reliefs are the adornments of a couch-altar that stood in the sanctuary which Themistocles restored for the Lycomids at Phlya..

Dennison suggest that the 'Scipio type' Roman portrait bust, once thought to represent Scipio the elder, actually depicts priests of Isis, whose cult rose to prominence at the time these busts were carved.

Arthur Frothingham, a father of the discipline of Art History, here lists and categorizes the form and development of the Roman triumphal arch.

A discussion of the works and school of Andokides, a famous Greek vase-painter of the 6th century active in the transitional period from black to red figure decoration.

In this paper Everett reconstructs his professional life and activities of Antoniazzo Romano and suggests a list of works by the artist, a task made difficult by his stylistic resemblance to other painters of the time.

Arthur Frothingham, one of the founding fathers of Art History, here discusses the origins of Hermes, and suggests that the prototype of Hermes was an Eastern deity of Babylonian extraction.

This paper uses a group of inscribed pottery with datable references to fix a more certain chronology for such pottery in 3rd century BC Alexandria.

An article tracing the development of the Ionic column from Egyptian lotus motifs through Assyrian rosettes and Cypriot pottery motifs.

This series of papers shows that a group of monuments erected by the French Cistercian monks, and here for the first time fully described and illustrated, were the earliest Italian buildings using transitional-Gothic architecture.

Kate Elderkin presents an enjoyable overview not only of the nature of children's dolls in Antiquity, but the customs surrounding their use and subsequent dedication when the owner reached adulthood.

Arthur Frothingham, one of the founding fathers of Art History, here discusses the problem of the Gorgon in ancient Greek art by arguing that Medusa represents a lost prehistoric goddess.

Holland uses sculpture to suggest that these ornaments were meant to be worn in womens' headdresses as a development from feathered crowns worn in earlier times and possibly connected to the iconography of the sphinx.

A. J. Frothingham discusses Byzantine influences in the art and architecture of medieval Rome, bringing to light the influence of Byzantium on Italy beyond the fall of the Western empire.

In this series, A. J. Frothingham Jr. reviews previously unstudied papal buildings, suggesting new members of the schools of Laurentius and Paulus and linking specific artists to various buildings.