This art history video discussion examines Gian Lorenzo Bernini's "Pluto and Proserpina" (also know as the Rape of Proserpina), 1621-22, marble (Galleria Borghese, Rome). Proserpina is the Latin varient of the mythic Greek Persephone.

This art history video discussion looks at Gian Lorenzo Bernini's "Saint Peter's Square (Piazza San Pietro)", Vatican City, Rome, 1656-67.

This art history video discussion looks at Gian Lorenzo Bernini's "Sant'Andrea al Quirinale", 1658-70, Rome; commissioned by Cardinal Camillo Francesco Maria Pamphili for the nearby Jesuit seminary.

It was approximately 40,000 years ago that mankind first donned a pair of shoes. During humanity’s long history of footwear, and an equally broad array of styles, the basic fundamentals of Western shoemaking remained mostly unchanged until the mid-nineteenth century. In the 1800s, the small state of Massachusetts revolutionized the shoemaking industry, cladding the feet of consumers nationwide in unprecedented numbers. One of America’s original colonies, Massachusetts found itself at the heart of the nation’s shoemaking industry by attracting and retaining skilled shoemakers and shoe machinery engineers. Only when the technology that Massachusetts' shoemakers invented became available beyond the state did the industry’s market expand throughout the country. Even with the spread of industrialization, Massachusetts remained the largest producer of shoes in the United States through World War I, responsible for nearly forty percent of America’s shoes and home to an equal percentage of its shoemakers. This exhibition was created as part of the DPLA’s Public Library Partnerships Project by collaborators from Digital Commonwealth. Exhibition organizer: Anna Fahey-Flynn.

This art history video discussion examines the Ambulatory at the Basilica of Saint Denis, Paris, 1140-44.

Using photographs and models, students are taken on a virtual journey to outer space. They can look back at the Earth as they travel further away and see it growing increasingly smaller, giving the experience that we live on a tiny planet that floats in a vast and empty space.

This art history video discussion looks at Arnold Bocklin's "Self-Portrait with Death Playing the Fiddle", 1872, oil on canvas, 75 x 61 cm (Alte Nationalgalerie, Berlin).

This art history video discussion looks at Bodhisattva, probably Avalokiteshvara (Guanyin), Northern Qi dynasty, c. 550--60, Shanxi Province, China, sandstone with pigments, 13-3/4 feet / 419.1 cm high (Metropolitan Museum of Art, New York).

This art history video discussion looks at Rosa Bonheur's "Plowing in the Nivernais (or The First Dressing)", oil on canvas, 1849 (Musee d'Orsay, Paris).

This art history video discussion looks at Rosa Bonheur "Sheep in the Highlands", 1857, oil on canvas (Wallace Collection, London). The Wallace Collection suggests that this painting is likely the result of a trip that the artist made to Scotland the previous year.

In 1803, the United States purchased the Louisiana Territory—800,000 square miles of land in the interior of North America. Most of this land had not been previously explored or documented. President Thomas Jefferson chose Meriwether Lewis and William Clark to lead an ambitious military expedition, seeking a northwestern passage to the Pacific Ocean and to document their journey in this unknown territory. Starting in what is now Missouri, the expedition followed the Missouri River and passed through present-day Montana on its way to the Pacific. The explorers commented on the beauty of the landscape and the abundance of animals, and their descriptions attracted fur traders and others ready to take advantage of the region's abundant natural resources. The discovery of gold in 1862 brought in the first rush of people and subsequent mining forever changed the region. The mining industry demanded support in the form of towns, railroads, logging, ranching, and farming. These industries shaped Montana and the people who settled there. This exhibition explores the industries that brought settlers to Montana from the early days to the 1920s. Each industry had its own “boom and bust” cycle that impacted the residents and the future of the state. This exhibition was created as part of the DPLA’s Public Library Partnerships Project by collaborators from Montana Memory Project: Jennifer Birnel, Della Yeager, Cody Allen, Dale Alger, Caroline Campbell, Carly Delsigne, Pam Henley, Stef Johnson, Lisa Mecklenberg-Jackson, Laura Tretter, and Franky Abbott. Exhibition organizers: Jennifer Birnel and Franky Abbott.

This art history video discussion examines Hieronymus Bosch's "Last Judgment Triptych", 1504-08, Akademie fur bildenden Kunste, Vienna, overall dimensions.

This art history video discussion looks at Botticelli's "La Primavera (Spring)", 1481-1482, tempera on panel, 80 x 123 1/2" (203 x 314), Uffizi, Florence.

This art history video discussion examines Francois Boucher's "Madame de Pompadour", oil on canvas, 1750 (extention of canvas and additional painting likely added by Boucher later, Fogg Museum.

This art history video discussion examines John Singleton Copley's "A Boy with a Flying Squirrel" (Henry Pelham), 1765, 77.15 x 63.82 cm / 30-3/8 x 25-1/8 inches (Museum of Fine Arts, Boston).

This art history video discussion examines Donato Bramante's "Tempietto", c. 1502, San Pietro in Montorio, Rome.

This art history video discussion looks at Constantin Brancusi's "Bird in Space", bronze, limestone, wood, 1928 (MoMA).

This art history video discussion examines Georges Braque's "Le Viaduc a L'Estaque", (The Viaduct at L'Estaque), 1908, oil on canvas (Musee national d'art moderne, Centre Pompidou, Paris).

The Lawrence Textile Strike was a public protest mainly of immigrant workers from several countries, including Austria, Belgium, Cuba, Canada, France, England, Germany, Greece, Ireland, Italy, Lithuania, Netherlands, Norway, Poland, Portugal, Russia, Scotland, Spain, Syria, and Turkey. According to the 1910 census, 65% of mill workers (many of whom eventually struck) lived in the United States for less than 10 years; 47% for less than five years. Prompted by a wage cut, the walkout spread quickly from mill to mill across the city. Strikers defied the assumptions of conservative trade unions within the American Federation of Labor that immigrant, largely female and ethnically diverse workers could not be organized. The Lawrence strike is referred to as the “Bread and Roses” strike and “The Strike for Three Loaves." The first known source to do so was a 1916 labor anthology, The Cry for Justice: An Anthology of the Literature of Social Protest by Upton Sinclair. Prior to that, the slogan, used as the title of a 1911 poem by James Oppenheim, had been attributed to ‘Chicago Women Trade Unionists.’ It has also been attributed to socialist union organizer Rose Schneiderman. James Oppenheim claimed his seeing women strikers in Lawrence carrying a banner proclaiming “We Want Bread and Roses Too” inspired the poem, “Bread and Roses.” The poem, however, was written and published in 1911 prior to the strike. Later the poem was set to music by Caroline Kohlsaat and then by Mimi Farina. The song and slogan are now important parts of the labor movement and women’s movement worldwide. This exhibition was made in collaboration with the Lawrence History Center and the University of Massachusetts Lowell History Department.

This art history video discussion examines Bronzino's "Portrait of a Young Man," oil on panel, 1530s (Metropolitan Museum of Art) Bronzino, Lodovico Capponi, Oil on panel, 1550-55 (Frick Collection).