This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1911 edition. Excerpt: ...to it, and never as anything supernatural. She told me of it some years after the war. In July, 1863, General Morgan made his famous raid into Ohio. Jim, Henry Massie, and myself were all members of his command. My father and mother were living with Aunt Key on Jefferson Street (south side), between First and Second, in Louisville. About the fifth or sixth of July, my mother and Aunt Key were sitting in the dining-room. My father came in, and addressing his sister said, "Nellie, I have thoroughly investigated that report and find there is nothing in it. I have been to the Louisville and Nashville depot and have done all I can to trace the report to its origin, and I am satisfied it has no foundation." My mother said, "What report?" My father answered, "A report came that Tom had been killed. I would not mention it to you till I had investigated it. I am satisfied now that it is without foundation." My mother said, "It is not Tom--it is Jim; and I believe it is true." She then explained to them, as she afterward did to me, that on the fourth of July she was standing at her bureau, combing her hair, preparing for dinner. She saw no vision, but heard a voice behind her say distinctly, "Jim has been killed." She looked around, startled in the highest degree: but there was no one there. She kept it to herself as a mere imagination, due to her constant anxiety, until she mentioned it as above. The fact is, Jim had been killed on the fourth of July, at just about the time she thought she heard the voice. This had no effect upon her religious views, and did not awaken a belief in spiritual manifestations. Next to Sister Martha's death, I think Jim's death caused her the deepest pain and distress...

With more than 1,800 entries, The Encyclopedia of Louisville is the ultimate reference for Kentucky's largest city. For more than 125 years, the world's attention has turned to Louisville for the annual running of the Kentucky Derby on the first Saturday in May. Louisville Slugger bats still reign supreme in major league baseball. The city was also the birthplace of the famed Hot Brown and Benedictine spread, and the cheeseburger made its debut at Kaelin's Restaurant on Newburg Road in 1934. The "Happy Birthday" had its origins in the Louisville kindergarten class of sisters Mildred Jane Hill and Patty Smith Hill. Named for King Louis XVI of France in appreciation for his assistance during the Revolutionary War, Louisville was founded by George Rogers Clark in 1778. The city has been home to a number of men and women who changed the face of American history. President Zachary Taylor was reared in surrounding Jefferson County, and two U.S. Supreme Court Justices were from the city proper. Second Lt. F. Scott Fitzgerald, stationed at Camp Zachary Taylor during World War I, frequented the bar in the famous Seelbach Hotel, immortalized in The Great Gatsby. Muhammad Ali was born in Louisville and won six Golden Gloves tournaments in Kentucky.

In the decades leading up to the Civil War, abolitionists crafted a variety of visual messages about the plight of enslaved people, portraying the violence, familial separation, and dehumanization that they faced. In response, proslavery southerners attempted to counter these messages either through idealization or outright erasure of enslaved life. In Hidden in Plain Sight: Concealing Enslavement in American Visual Culture, Rachel Stephens addresses an enormous body of material by tracing themes of concealment and silence through paintings, photographs, and ephemera, connecting long overlooked artworks with both the abolitionist materials to which they were responding and archival research across a range of southern historical narratives. Stephens begins her fascinating study with an examination of the ways that slavery was visually idealized and defended in antebellum art. She then explores the tyranny—especially that depicted in art—enacted by supporters of enslavement, introduces a range of ways that artwork depicting slavery was tangibly concealed, considers photographs of enslaved female caretakers with the white children they reared, and investigates a printmaker’s confidential work in support of the Confederacy. Finally, she delves into an especially pernicious group of proslavery artists in Richmond, Virginia. Reading visual culture as a key element of the antebellum battle over slavery, Hidden in Plain Sight complicates the existing narratives of American art and history.