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                <text>Permission to reproduce material from Athenaeum collections must be granted in writing and is at the discretion of The Athenaeum staff. All permission is granted on a per-use basis. Images may not be altered (aside from cropping) without special permission. The user of supplied reproductions assumes all responsibilities for citing sources properly, and using images in conformity with existing copyright laws, and may be required to supply The Athenaeum with a copy of any publication or project in which the images appear. The Athenaeum reserves the right to refuse to reproduce any item in its collections.</text>
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                <text>For information on ordering reproductions of Athenaeum drawings, please see &lt;a href="http://www.philaathenaeum.org/rights.html"&gt;http://www.philaathenaeum.org/rights.html&lt;/a&gt;.</text>
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                <text>Retour D'Elbe </text>
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                  <text>Sarah Josepha Buell Hale (1788-1879) was a major literary figure of the 19th century. Born in New Hampshire, she was educated at home and by her mother and brother, Horatio. She married a young lawyer, David Hale, who died in 1822. As a result she had to find a way to support herself and her five children. She utilized her literary skills and published a collection of poems with mild success followed by her first novel entitled &lt;em&gt;Northwood&lt;/em&gt; in 1827. &lt;em&gt;Northwood&lt;/em&gt; advocated the repatriation of slaves to Africa by means of Liberia and called for New England style morality throughout the nation. In 1828 she began editing &lt;em&gt;The Ladies’ Magazine of Boston&lt;/em&gt;, the first magazine for women to be edited by a woman. It had its financial difficulties and was united with &lt;em&gt;Godey’s Lady’s Book&lt;/em&gt; (the majorly influential women’s magazine of the 19th century) in 1837. Godey’s was based in Philadelphia and she eventually she moved to Philadelphia from Boston to become more involved in her editorship of the magazine. These magazines acted as her platform to promote her moral agendas. She was a major proponent of equal education for women; however she was not a suffragist. She pushed for men and women to remain within their god-given spheres and believed women needed education to be better moral upholders of the home. Aside from being the editor of &lt;em&gt;Godey’s Lady’s Book&lt;/em&gt;, she wrote many books and poems while lobbying for educational and social reform. Hale is also the author of &lt;em&gt;Mary had a Little Lamb&lt;/em&gt; and the main person responsible for making Thanksgiving a national holiday (it was previously only celebrated in her native New England). Hale died in 1879 and was survived by four children (her oldest son died in 1839).</text>
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                  <text>This collection of letters contains the correspondence of Sarah Josepha Buell Hale. It contains letters relating to both her professional and personal life and spans a 43 year period. It also contains a small number of letters between her close relatives.</text>
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                <text>Rev. John P. Durbin to Sarah Josepha Hale</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                <text>Permission to reproduce material from Athenaeum collections must be granted in writing and is at the discretion of The Athenaeum staff. All permission is granted on a per-use basis. Images may not be altered (aside from cropping) without special permission. The user of supplied reproductions assumes all responsibilities for citing sources properly, and using images in conformity with existing copyright laws, and may be required to supply The Athenaeum with a copy of any publication or project in which the images appear. The Athenaeum reserves the right to refuse to reproduce any item in its collections.</text>
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                <text>For information on ordering reproductions of Athenaeum drawings, please see &lt;a href="http://www.philaathenaeum.org/rights.html"&gt;http://www.philaathenaeum.org/rights.html&lt;/a&gt;.</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>Permission to reproduce material from Athenaeum collections must be granted in writing and is at the discretion of The Athenaeum staff. All permission is granted on a per-use basis. Images may not be altered (aside from cropping) without special permission. The user of supplied reproductions assumes all responsibilities for citing sources properly, and using images in conformity with existing copyright laws, and may be required to supply The Athenaeum with a copy of any publication or project in which the images appear. The Athenaeum reserves the right to refuse to reproduce any item in its collections.</text>
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                <text>For information on ordering reproductions of Athenaeum drawings, please see &lt;a href="http://www.philaathenaeum.org/rights.html"&gt;http://www.philaathenaeum.org/rights.html&lt;/a&gt;.</text>
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              <description>An account of the resource</description>
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                  <text>The Camden Collection consists of the artwork and personal materials of artist and graphic designer Robert L. M. Camden (1855-1922).  It includes drawings, prints,  photographs, and manuscripts.  Examples of his work include cigar box designs, notepad covers, lettering and company logos.  For most of his career, Camden worked as a solo artist and illustrator based in Philadelphia.  In 1887, he briefly partnered with René Théophile de Quélin as "Camden &amp; Quelin Artists, Designers &amp; Illustrators."</text>
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                <text>RLMC membership card, Penna. Academy of the Fine Arts</text>
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                <text>Road to McConkle's Rocks "Laurel"</text>
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Additional sculptures relating to Napoleon Bonaparte and his family may be viewed online in the Athenaeum's Featured Collection, "Bonaparte Collection." </text>
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      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Robert Cornelius</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="50074">
                <text>The Philadelphian Robert Cornelius (1805-1893), son of the silversmith Christian Cornelius, was a pioneer daguerreotypist and successful lighting manufacturer.  The Athenaeum owns photographs by Cornelius, and original lighting fixtures for the Athenaeum were designed by Cornelius and Company.  Cornelius is depicted here in an idealized classical Greek manner, his gaze turned slightly to his right, and wearing a loosely draped garment gathered around his shoulders. This bust descended in the Cornelius family and was given to the Athenaeum in 1992 by John C. Cornelius, III, Robert Cornelius' great grandson.</text>
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            <name>Extent</name>
            <description>The size or duration of the resource.</description>
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                <text>24.75" H</text>
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            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
            <elementTextContainer>
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                <text>Marble</text>
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          <element elementId="90">
            <name>Provenance</name>
            <description>A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.</description>
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                <text>Gift of John C. Cornelius III</text>
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            <name>Is Part Of</name>
            <description>A related resource in which the described resource is physically or logically included.</description>
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                <text>General Collection, Museum Collection, The Athenaeum of Philadelphia&#13;
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="50079">
                <text>1992.M02.01</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="50178">
                <text>http://www.philaathenaeum.org/rights.html&#13;
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        <name>Cornelius</name>
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        <authentication>863ec39c2b4c56dae973ae3717a4a931</authentication>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Robert L. M. Camden Collection</text>
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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
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                <elementText elementTextId="47218">
                  <text>The Camden Collection consists of the artwork and personal materials of artist and graphic designer Robert L. M. Camden (1855-1922).  It includes drawings, prints,  photographs, and manuscripts.  Examples of his work include cigar box designs, notepad covers, lettering and company logos.  For most of his career, Camden worked as a solo artist and illustrator based in Philadelphia.  In 1887, he briefly partnered with René Théophile de Quélin as "Camden &amp; Quelin Artists, Designers &amp; Illustrators."</text>
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      <name>Still Image</name>
      <description>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.</description>
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        <name>Dublin Core</name>
        <description>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/.</description>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>219-PR-581</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="46661">
                <text>Robert L.M. Camden, Jr. and Emma R. Ingle marriage announcement, 1891</text>
              </elementText>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1891</text>
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          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>print</text>
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          <element elementId="72">
            <name>Is Part Of</name>
            <description>A related resource in which the described resource is physically or logically included.</description>
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                <text>Robert L. M. Camden Collection, The Athenaeum of Philadelphia</text>
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            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="46665">
                <text>http://www.philaathenaeum.org/rights.html</text>
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  <item itemId="720" public="1" featured="0">
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      <elementSetContainer>
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          <name>Dublin Core</name>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="1">
                  <text>Robert M. Skaler Postcard Collection</text>
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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="37079">
                  <text>Gift of retired architect Robert M. Skaler, 2016. These 1899 postcards, (bulk dates 1900-1976), depict Philadelphia and surrounding area. Originally arranged in 14 ring binders, roughly by subject or type. The number following PC in each item's local id number indicates the original binder number. Binder subjects were as follows: 1-Atlantic City 2-Parks 3-Schools 4-Linens 5-Hotels/Restaurants 6-Center City/Waterfront 7-Churches/Hospitals/Clubs/Prisons/Cemeteries 8-Real Postcards 9-North Broad Street 10-South Broad Street 11-North Philadelphia Real Postcards 12-Art Cards 13-Commerce 14-Lutz/Architects/Panorama/Neighborhoods </text>
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        <description>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/.</description>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Robert Morris</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
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                <text>Postcard to Miss M () Elwain</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1923</text>
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          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Image</text>
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            </elementTextContainer>
          </element>
          <element elementId="63">
            <name>Extent</name>
            <description>The size or duration of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="13145">
                <text>1 postcard</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="64">
            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
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              <elementText elementTextId="13146">
                <text>Postcards</text>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="13147">
                <text>290-PC-05-148</text>
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              <elementText elementTextId="13148">
                <text>https://www.philadelphiabuildings.org/pab/app/ho_display.cfm/1236712</text>
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          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
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                <text>en</text>
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            <name>Relation</name>
            <description>A related resource</description>
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                <text>thumb:001:https://www.philadelphiabuildings.org/pab-images/medium-display/pat-skaler/290-PC-05-148.jpg</text>
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          <element elementId="72">
            <name>Is Part Of</name>
            <description>A related resource in which the described resource is physically or logically included.</description>
            <elementTextContainer>
              <elementText elementTextId="13156">
                <text>Robert M. Skaler Postcard Collection, Athenaeum of Philadelphia</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="77">
            <name>Has Format</name>
            <description>A related resource that is substantially the same as the pre-existing described resource, but in another format.</description>
            <elementTextContainer>
              <elementText elementTextId="13157">
                <text>https://www.philadelphiabuildings.org/pab-new/iiif.cfm/HI-SK20161207-0720/manifest</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="79">
            <name>Spatial Coverage</name>
            <description>Spatial characteristics of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="13158">
                <text>Arch St and Benjamin Franklin Parkway, Philadelphia, PA</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="40020">
                <text>Permission to reproduce material from Athenaeum collections must be granted in writing and is at the discretion of The Athenaeum staff. All permission is granted on a per-use basis. Images may not be altered (aside from cropping) without special permission. The user of supplied reproductions assumes all responsibilities for citing sources properly, and using images in conformity with existing copyright laws, and may be required to supply The Athenaeum with a copy of any publication or project in which the images appear. The Athenaeum reserves the right to refuse to reproduce any item in its collections.</text>
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              <elementText elementTextId="40021">
                <text>For information on ordering reproductions of Athenaeum drawings, please see &lt;a href="http://www.philaathenaeum.org/rights.html"&gt;http://www.philaathenaeum.org/rights.html&lt;/a&gt;.</text>
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  <item itemId="1955" public="1" featured="0">
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      <elementSetContainer>
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          <name>Dublin Core</name>
          <description>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/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Magee Collection</text>
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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
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                <elementText elementTextId="35853">
                  <text>Collection of 65 picture post cards, c. 1905-1910 of Philadelphia area sites, primarily Germantown. Nearly all cards are postmarked and addressed to Miss Clara Baumann, 5037 Pulaski Street, Germantown. Gift of Eileen M. Magee, 2017</text>
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              <name>Source</name>
              <description>A related resource from which the described resource is derived</description>
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                  <text>Athenaeum of Philadelphia</text>
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              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                  <text>1905-1910 (circa)</text>
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              <name>Extent</name>
              <description>The size or duration of the resource.</description>
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              <name>Provenance</name>
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                  <text>Gift of Eileen Magee, 2017</text>
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            <element elementId="91">
              <name>Rights Holder</name>
              <description>A person or organization owning or managing rights over the resource.</description>
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                  <text>Athenaeum of Philadelphia</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Roberts' Old Mill</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="35669">
                <text>1905</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Image</text>
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          <element elementId="63">
            <name>Extent</name>
            <description>The size or duration of the resource.</description>
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                <text>1 Item</text>
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            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
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                <text>Postcards</text>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="35673">
                <text>297-PC-054</text>
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                <text>https://www.philadelphiabuildings.org/pab/app/ho_display.cfm/1240718</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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                <text>en</text>
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            <description>A related resource</description>
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            <description>A related resource in which the described resource is physically or logically included.</description>
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          <element elementId="77">
            <name>Has Format</name>
            <description>A related resource that is substantially the same as the pre-existing described resource, but in another format.</description>
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                <text>https://www.philadelphiabuildings.org/pab-new/iiif.cfm/6A3FAA3F-155D-01E7-00520437F1D6F5CC/manifest</text>
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            <name>Spatial Coverage</name>
            <description>Spatial characteristics of the resource.</description>
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                <text>Philadelphia, PA (Germantown)</text>
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          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="42491">
                <text>Permission to reproduce material from Athenaeum collections must be granted in writing and is at the discretion of The Athenaeum staff. All permission is granted on a per-use basis. Images may not be altered (aside from cropping) without special permission. The user of supplied reproductions assumes all responsibilities for citing sources properly, and using images in conformity with existing copyright laws, and may be required to supply The Athenaeum with a copy of any publication or project in which the images appear. The Athenaeum reserves the right to refuse to reproduce any item in its collections.</text>
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              <elementText elementTextId="42492">
                <text>For information on ordering reproductions of Athenaeum drawings, please see &lt;a href="http://www.philaathenaeum.org/rights.html"&gt;http://www.philaathenaeum.org/rights.html&lt;/a&gt;.</text>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
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                  <text>Robert L. M. Camden Collection</text>
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              <description>A name given to the resource</description>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>The Camden Collection consists of the artwork and personal materials of artist and graphic designer Robert L. M. Camden (1855-1922).  It includes drawings, prints,  photographs, and manuscripts.  Examples of his work include cigar box designs, notepad covers, lettering and company logos.  For most of his career, Camden worked as a solo artist and illustrator based in Philadelphia.  In 1887, he briefly partnered with René Théophile de Quélin as "Camden &amp; Quelin Artists, Designers &amp; Illustrators."</text>
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        <description>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/.</description>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>219-PR-573</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Roll Call (list of names of high school reunion)</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>print</text>
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            <name>Is Part Of</name>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="46627">
                <text>http://www.philaathenaeum.org/rights.html</text>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Stone Collecton</text>
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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
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                  <text>James N. Stone Jr. (1851-1911) was a lawyer and amateur photographer. He became a member of the Philadelphia Photographic Society in 1868. The Stone Collection contains photographic images in a variety of formats, some of which were taken by Stone, and others which he simply collected. Among the highlights are a photo album assembled by his son Frank S. Stone in 1912 (which contains photos taken by James Stone Jr. and Ellersbie Wallace Jr.), a rare daguerreotype by Robert Cornelius and a photo of Independence Hall taken from the Philadelphia Photographic Society’s rooms at 520 Walnut St.</text>
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                  <text>1868-1912</text>
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              </elementTextContainer>
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      <name>Still Image</name>
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        <description>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/.</description>
        <elementContainer>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
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                <text>221-AL-001-039</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="47467">
                <text>Rolling Mill, "Laurel", First Rolling Mill in PA</text>
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            </elementTextContainer>
          </element>
          <element elementId="63">
            <name>Extent</name>
            <description>The size or duration of the resource.</description>
            <elementTextContainer>
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                <text>6x8"</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="64">
            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="47469">
                <text>Photograph</text>
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            </elementTextContainer>
          </element>
          <element elementId="38">
            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
            <elementTextContainer>
              <elementText elementTextId="47470">
                <text>Chester Co., PA</text>
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            </elementTextContainer>
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  </item>
  <item itemId="1208" public="1" featured="0">
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          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="1">
                  <text>Robert M. Skaler Postcard Collection</text>
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              </elementTextContainer>
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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="37079">
                  <text>Gift of retired architect Robert M. Skaler, 2016. These 1899 postcards, (bulk dates 1900-1976), depict Philadelphia and surrounding area. Originally arranged in 14 ring binders, roughly by subject or type. The number following PC in each item's local id number indicates the original binder number. Binder subjects were as follows: 1-Atlantic City 2-Parks 3-Schools 4-Linens 5-Hotels/Restaurants 6-Center City/Waterfront 7-Churches/Hospitals/Clubs/Prisons/Cemeteries 8-Real Postcards 9-North Broad Street 10-South Broad Street 11-North Philadelphia Real Postcards 12-Art Cards 13-Commerce 14-Lutz/Architects/Panorama/Neighborhoods </text>
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    <elementSetContainer>
      <elementSet elementSetId="1">
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        <description>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/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
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                <text>Roman Catholic High School</text>
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            </elementTextContainer>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
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                <text>Postcard to Miss Mary Righter</text>
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            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
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                <text>1908</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
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                <text>Image</text>
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          <element elementId="63">
            <name>Extent</name>
            <description>The size or duration of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="21972">
                <text>1 postcard</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="64">
            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="21973">
                <text>Postcards</text>
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            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="21974">
                <text>290-PC-09-043</text>
              </elementText>
              <elementText elementTextId="21975">
                <text>https://www.philadelphiabuildings.org/pab/app/ho_display.cfm/1237200</text>
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          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
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                <text>en</text>
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          </element>
          <element elementId="46">
            <name>Relation</name>
            <description>A related resource</description>
            <elementTextContainer>
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                <text>thumb:001:https://www.philadelphiabuildings.org/pab-images/medium-display/pat-skaler/290-PC-09-043.jpg</text>
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            </elementTextContainer>
          </element>
          <element elementId="72">
            <name>Is Part Of</name>
            <description>A related resource in which the described resource is physically or logically included.</description>
            <elementTextContainer>
              <elementText elementTextId="21983">
                <text>Robert M. Skaler Postcard Collection, Athenaeum of Philadelphia</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="77">
            <name>Has Format</name>
            <description>A related resource that is substantially the same as the pre-existing described resource, but in another format.</description>
            <elementTextContainer>
              <elementText elementTextId="21984">
                <text>https://www.philadelphiabuildings.org/pab-new/iiif.cfm/HI-SK20161207-1208/manifest</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="79">
            <name>Spatial Coverage</name>
            <description>Spatial characteristics of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="21985">
                <text>Philadelphia, PA</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="40996">
                <text>Permission to reproduce material from Athenaeum collections must be granted in writing and is at the discretion of The Athenaeum staff. All permission is granted on a per-use basis. Images may not be altered (aside from cropping) without special permission. The user of supplied reproductions assumes all responsibilities for citing sources properly, and using images in conformity with existing copyright laws, and may be required to supply The Athenaeum with a copy of any publication or project in which the images appear. The Athenaeum reserves the right to refuse to reproduce any item in its collections.</text>
              </elementText>
              <elementText elementTextId="40997">
                <text>For information on ordering reproductions of Athenaeum drawings, please see &lt;a href="http://www.philaathenaeum.org/rights.html"&gt;http://www.philaathenaeum.org/rights.html&lt;/a&gt;.</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
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  </item>
  <item itemId="690" public="1" featured="0">
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          <description>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/.</description>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="1">
                  <text>Robert M. Skaler Postcard Collection</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="37079">
                  <text>Gift of retired architect Robert M. Skaler, 2016. These 1899 postcards, (bulk dates 1900-1976), depict Philadelphia and surrounding area. Originally arranged in 14 ring binders, roughly by subject or type. The number following PC in each item's local id number indicates the original binder number. Binder subjects were as follows: 1-Atlantic City 2-Parks 3-Schools 4-Linens 5-Hotels/Restaurants 6-Center City/Waterfront 7-Churches/Hospitals/Clubs/Prisons/Cemeteries 8-Real Postcards 9-North Broad Street 10-South Broad Street 11-North Philadelphia Real Postcards 12-Art Cards 13-Commerce 14-Lutz/Architects/Panorama/Neighborhoods </text>
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    </collection>
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        <description>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/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
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                <text>Roof Garden, Continental Hotel</text>
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          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Image</text>
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          </element>
          <element elementId="63">
            <name>Extent</name>
            <description>The size or duration of the resource.</description>
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                <text>1 postcard</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="64">
            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
            <elementTextContainer>
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                <text>Postcards</text>
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            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="12606">
                <text>290-PC-05-118</text>
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                <text>https://www.philadelphiabuildings.org/pab/app/ho_display.cfm/1236682</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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            <description>Spatial characteristics of the resource.</description>
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                <text>Philadelphia, PA</text>
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          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="39960">
                <text>Permission to reproduce material from Athenaeum collections must be granted in writing and is at the discretion of The Athenaeum staff. All permission is granted on a per-use basis. Images may not be altered (aside from cropping) without special permission. The user of supplied reproductions assumes all responsibilities for citing sources properly, and using images in conformity with existing copyright laws, and may be required to supply The Athenaeum with a copy of any publication or project in which the images appear. The Athenaeum reserves the right to refuse to reproduce any item in its collections.</text>
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                <text>For information on ordering reproductions of Athenaeum drawings, please see &lt;a href="http://www.philaathenaeum.org/rights.html"&gt;http://www.philaathenaeum.org/rights.html&lt;/a&gt;.</text>
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              <name>Title</name>
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                  <text>Gift of retired architect Robert M. Skaler, 2016. These 1899 postcards, (bulk dates 1900-1976), depict Philadelphia and surrounding area. Originally arranged in 14 ring binders, roughly by subject or type. The number following PC in each item's local id number indicates the original binder number. Binder subjects were as follows: 1-Atlantic City 2-Parks 3-Schools 4-Linens 5-Hotels/Restaurants 6-Center City/Waterfront 7-Churches/Hospitals/Clubs/Prisons/Cemeteries 8-Real Postcards 9-North Broad Street 10-South Broad Street 11-North Philadelphia Real Postcards 12-Art Cards 13-Commerce 14-Lutz/Architects/Panorama/Neighborhoods </text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Roof Garden, Continental Hotel</text>
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            <description>The nature or genre of the resource</description>
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            <description>The size or duration of the resource.</description>
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                <text>1 postcard</text>
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            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>290-PC-05-131</text>
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                <text>Permission to reproduce material from Athenaeum collections must be granted in writing and is at the discretion of The Athenaeum staff. All permission is granted on a per-use basis. Images may not be altered (aside from cropping) without special permission. The user of supplied reproductions assumes all responsibilities for citing sources properly, and using images in conformity with existing copyright laws, and may be required to supply The Athenaeum with a copy of any publication or project in which the images appear. The Athenaeum reserves the right to refuse to reproduce any item in its collections. For information on ordering reproductions of Athenaeum drawings, please see &lt;a href="http://www.philaathenaeum.org/rights.html"&gt;http://www.philaathenaeum.org/rights.html&lt;/a&gt;.</text>
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                <text>Permission to reproduce material from Athenaeum collections must be granted in writing and is at the discretion of The Athenaeum staff. All permission is granted on a per-use basis. Images may not be altered (aside from cropping) without special permission. The user of supplied reproductions assumes all responsibilities for citing sources properly, and using images in conformity with existing copyright laws, and may be required to supply The Athenaeum with a copy of any publication or project in which the images appear. The Athenaeum reserves the right to refuse to reproduce any item in its collections.</text>
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                  <text>Gift of retired architect Robert M. Skaler, 2016. These 1899 postcards, (bulk dates 1900-1976), depict Philadelphia and surrounding area. Originally arranged in 14 ring binders, roughly by subject or type. The number following PC in each item's local id number indicates the original binder number. Binder subjects were as follows: 1-Atlantic City 2-Parks 3-Schools 4-Linens 5-Hotels/Restaurants 6-Center City/Waterfront 7-Churches/Hospitals/Clubs/Prisons/Cemeteries 8-Real Postcards 9-North Broad Street 10-South Broad Street 11-North Philadelphia Real Postcards 12-Art Cards 13-Commerce 14-Lutz/Architects/Panorama/Neighborhoods </text>
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                <text>Permission to reproduce material from Athenaeum collections must be granted in writing and is at the discretion of The Athenaeum staff. All permission is granted on a per-use basis. Images may not be altered (aside from cropping) without special permission. The user of supplied reproductions assumes all responsibilities for citing sources properly, and using images in conformity with existing copyright laws, and may be required to supply The Athenaeum with a copy of any publication or project in which the images appear. The Athenaeum reserves the right to refuse to reproduce any item in its collections. For information on ordering reproductions of Athenaeum drawings, please see &lt;a href="http://www.philaathenaeum.org/rights.html"&gt;http://www.philaathenaeum.org/rights.html&lt;/a&gt;.</text>
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                  <text>Sarah Josepha Buell Hale (1788-1879) was a major literary figure of the 19th century. Born in New Hampshire, she was educated at home and by her mother and brother, Horatio. She married a young lawyer, David Hale, who died in 1822. As a result she had to find a way to support herself and her five children. She utilized her literary skills and published a collection of poems with mild success followed by her first novel entitled &lt;em&gt;Northwood&lt;/em&gt; in 1827. &lt;em&gt;Northwood&lt;/em&gt; advocated the repatriation of slaves to Africa by means of Liberia and called for New England style morality throughout the nation. In 1828 she began editing &lt;em&gt;The Ladies’ Magazine of Boston&lt;/em&gt;, the first magazine for women to be edited by a woman. It had its financial difficulties and was united with &lt;em&gt;Godey’s Lady’s Book&lt;/em&gt; (the majorly influential women’s magazine of the 19th century) in 1837. Godey’s was based in Philadelphia and she eventually she moved to Philadelphia from Boston to become more involved in her editorship of the magazine. These magazines acted as her platform to promote her moral agendas. She was a major proponent of equal education for women; however she was not a suffragist. She pushed for men and women to remain within their god-given spheres and believed women needed education to be better moral upholders of the home. Aside from being the editor of &lt;em&gt;Godey’s Lady’s Book&lt;/em&gt;, she wrote many books and poems while lobbying for educational and social reform. Hale is also the author of &lt;em&gt;Mary had a Little Lamb&lt;/em&gt; and the main person responsible for making Thanksgiving a national holiday (it was previously only celebrated in her native New England). Hale died in 1879 and was survived by four children (her oldest son died in 1839).</text>
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              <text>Charlottesville (Albemarle Co.)Va. Aug. 27, 1829&#13;
&#13;
To: Mrs. Sarah J. Hale.&#13;
&#13;
Dear Madam: - Your letter of July 16, has been received.&#13;
I have delayed an answer until I was about to&#13;
leave this place, for the purpose of trying my own perseverance&#13;
in the steps which I am about to take - my inclinations&#13;
&amp; feelings prompting me to return to my "air home"&#13;
and the scenes of my dearest recollections; but my ambition&#13;
leading me into the uncertainties of adventure&#13;
- whence either they may be crowned with success or&#13;
defeated by misfortune. - My resolution is now fixed&#13;
- and I am about to try a scheme which has engrossed&#13;
my thoughts and inquiries for the last five months. --&#13;
On the 29th inst. I shall take the Southern Stage for Salisbury,&#13;
N. Carolina; whether I remain there any considerable&#13;
time is uncertain, but it is probable until&#13;
a cool weather comes on; - when I may go South - if my &#13;
"air castles" shall have then vanished - - - -&#13;
It would have pleased me much to have been a [shorer?]&#13;
in your visit home - To have seen my old friend and &#13;
master -"Col. Boston" noosed in those silken fetters with&#13;
which he has been so long dandling - May all good and&#13;
kind Spirits watch over and bless him! I perfectly&#13;
agree with you in your sentiments of his character and &#13;
virtues. - His are kind &amp; ardent feelings - too sensitive&#13;
sometimes, for his own convenience, but always honest&#13;
and honorable. I wish him success in his present&#13;
undertakings - One thing only, have I against him - that of&#13;
neglecting to answer a letter which I wrote him, while at&#13;
[?]; but I have properly concluded that he has&#13;
&#13;
more important business and [?] calls than waiting&#13;
upon me - that his opinion of me is by no means as favorable&#13;
as I may have flattered myself - so adieu. I am pleased to &#13;
notice the late [arranger?] - cuts of [?] Spectator. Mr. French I&#13;
think manages his paper with taste &amp; credit, and my old&#13;
friend &amp; companion Metcalf who finds an opportunity for&#13;
the display of his genius &amp; industry. It might be a good establishment&#13;
in any other state than New Hampshire; for&#13;
such is the competition that only a small profit can be realized&#13;
from a newspaper establishment in that place, though it may&#13;
yield there a good support. I am in hopes that Metcalf will succeed&#13;
- he brings a good share of industry &amp; good habits to&#13;
the undertaking. - - - Mrs. [Forwith's?] remembrances, I believe,&#13;
you put upon me for a quiz - but no matter - The friendship&#13;
which I formed for Mrs. Forwith &amp; family, while at Newport, I&#13;
am now, and always shall be happy to remember, as&#13;
well as for yourself, and many other of the good people,&#13;
whom I have met "in days o' auld lang syne." - - - You ask&#13;
me to "give you a description of the Virginia ladies - that you&#13;
may publish it in the Magazine." Oh, no! I never perpetrated&#13;
a line for the public eye, in all my life - nor can &#13;
I now enter into a dissertation on a subject so intricate and&#13;
presenting so many [?] varieties &amp; changes as do these, the&#13;
very sine qua non of all the perfection &amp; loveliness. I cannot&#13;
do this. Were I to make an effort I could not do them justice;&#13;
for I have not had time and opportunity to know much of the real&#13;
character of the people of Virginia - and much less will I&#13;
meddle with that if the ladies! - - Since I have been&#13;
here I have kept myself rather retired, as I felt myself&#13;
a stranger among them and perceived the stifled prejudice&#13;
of the people against "Yankees" - or northern people; yet I have&#13;
often been invited to attend parties, et cetera. I have attended&#13;
two cotillion parties, where I have met some very pretty ladies&#13;
&#13;
[ED: the following appears in red ink, written sideways on the page through&#13;
the above text, and is difficult to read. Follows page 4, which references the red insert]&#13;
&#13;
and [low?] as any that I have ever seen - So that all is not&#13;
[gossip?]! Yesterday towards evening, I returned having spent&#13;
two days very pleasantly. Indeed none can complain of the hospitality.&#13;
as for Virginians, though they are jealous of Northern people,&#13;
[correctly?][?] [?] [much?] [?] no [?] [?]"Yankee peddlers [?]&#13;
adventurers- I must conclude, for the rain is falling&#13;
fast &amp; the thermometer stand at 64° all day, which has quite&#13;
[diminished?] [?] [senses?] - But, when I shall leave&#13;
reached a warmer clime you shall again hear from poor&#13;
'Tom Quigg. A wanderer." I look forward to the time, when&#13;
I shall again meet you together [?] [?] [?] [?] &#13;
-fondly [nothing?] [?] trusting to me [that?] happiness [at?] a [future?]&#13;
time which will [do?] [for?] the present. Lo Adieu,&#13;
dear reader - my grateful remembrances are ever&#13;
yours - - - Roswell Elmer, Jr. &#13;
&#13;
ladies. I should not utter my real sentiments were I to say, that &#13;
they exceeded in beauty &amp; accomplishments the fair of my own state,&#13;
&amp; were I to speak against them I should do them an injustice. - They&#13;
spend more of their time in dancing &amp; visiting and less to study &amp;&#13;
to improvement of the mind than ladies of the same wealth&#13;
in N.E. They make but a light matter of riding 15 miles on horseback&#13;
to a dinner party (Indeed [they?] can ride no other way on account&#13;
of the badness of the roads, and the bye paths in which they have to&#13;
travel across plantations, [etc.]) The prettiest dancer that I have met&#13;
among the ladies was Miss Randolph, a sister of Dr. Jeff. Randolph&#13;
- she is the youngest of the family - about 17. She is not handsome,&#13;
nor are any of the family. Mr. T.J. Randolph is a man of about &#13;
35 years of age, six feet two inches high &amp; quite spare in form -&#13;
His right arm is useless from a wound received from his &#13;
brother-in-law (Fawcett who married his sister) with a dirk&#13;
knife in a quarrel. Fawcett is a dissipated man, and becomes mad&#13;
when intoxicated - His wife died four years since, and it is said by&#13;
many to have been occasioned by his ill-treatment. Mr. Randopl &#13;
is as much esteemed as any man in the county He lives at a beautiful&#13;
residence called "Edgehill"(tho' not the scene of a no[ED: page damaged]&#13;
that title, published in Richmond last season. The day before&#13;
yesterday I took a ride down to Everettsville, about eight miles&#13;
distant, to visit some friends with whom I had become acquainted&#13;
there. I had an opportunity of seeing the plentious&#13;
[harvest?] &amp; every thing pertaining to a country life. - Col. Rodgers&#13;
thinks his corn crop will amount to [7,500?] bushels &amp; his wheat crop&#13;
in proportion - Imagination can hardly conceive the beauty of&#13;
[these?] luxurious [fields] of golden grain. I went about a mile&#13;
&amp; a half further to the plantation of Col. Lindsay where I stayed&#13;
until the next evening. I had spent a day, before, with Col. L. and&#13;
now came to bid him good bye for the last time perhaps! His&#13;
hospitality I can never forget - To meet with the friendly &amp; hospitable,&#13;
in a land of strangers, is like the cheering rays of the noonday&#13;
sun - dispelling the mist of sadness which dwells upon the&#13;
mind of the wanderer. His farm consists of about eight hundred&#13;
acres of land &amp; fifteen negroes - and he is himself a practical [farmer?].&#13;
His house, two stories high tho' not large or splendid, but surrounded&#13;
&#13;
surrounded with beautiful shade trees. With an agreeable wife and&#13;
family of six children - the oldest daughter of 17, just married.&#13;
- I could not fail to be agreeably entertained. The house was not&#13;
finished, or furnished with the splendid furniture which you &#13;
meet in the houses of farmers of half the wealth in N. England;&#13;
but every thing appears in a most rustic form. But still&#13;
they live at their ease, - [DE: and] every thing [DE: must] being done by the&#13;
&#13;
servants. With regard to the employment of the ladies - they would&#13;
be considered idle by the people of the north; But who would be industrious&#13;
if they could do without exertion? Many of the ambitious&#13;
middling class of people are industrious &amp; in some measure&#13;
follow the customs of the north - but the customs &amp; habits are&#13;
so fixed that they cannot well get along without falling into the&#13;
modes of the majority. Every kind of laborious work must be&#13;
done by the negroes. There are some white people here who are as poor&#13;
See red [insert?]&#13;
&#13;
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                <text>Roswell Elmer to Sarah Josepha Hale</text>
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                <text>Hale, Sarah Josepha Buell, 1788-1879</text>
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                <text>1829-08-27</text>
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                <text>August 27, 1829</text>
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                <text>Manuscripts</text>
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                <text>eng</text>
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                <text>Sarah Josepha Hale Collection, The Athenaeum of Philadelphia</text>
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                  <text>Robert M. Skaler Postcard Collection</text>
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                  <text>Gift of retired architect Robert M. Skaler, 2016. These 1899 postcards, (bulk dates 1900-1976), depict Philadelphia and surrounding area. Originally arranged in 14 ring binders, roughly by subject or type. The number following PC in each item's local id number indicates the original binder number. Binder subjects were as follows: 1-Atlantic City 2-Parks 3-Schools 4-Linens 5-Hotels/Restaurants 6-Center City/Waterfront 7-Churches/Hospitals/Clubs/Prisons/Cemeteries 8-Real Postcards 9-North Broad Street 10-South Broad Street 11-North Philadelphia Real Postcards 12-Art Cards 13-Commerce 14-Lutz/Architects/Panorama/Neighborhoods </text>
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                <text>Row of houses, Camac Pl</text>
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                <text>Postcard to Mr. William Hoos Jr.</text>
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            <name>Date</name>
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                <text>1907</text>
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                <text>1 postcard</text>
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                <text>Postcards</text>
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                <text>290-PC-11-012</text>
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                <text>https://www.philadelphiabuildings.org/pab/app/ho_display.cfm/1237342</text>
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                <text>Camac St, Philadelphia, PA</text>
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                <text>Permission to reproduce material from Athenaeum collections must be granted in writing and is at the discretion of The Athenaeum staff. All permission is granted on a per-use basis. Images may not be altered (aside from cropping) without special permission. The user of supplied reproductions assumes all responsibilities for citing sources properly, and using images in conformity with existing copyright laws, and may be required to supply The Athenaeum with a copy of any publication or project in which the images appear. The Athenaeum reserves the right to refuse to reproduce any item in its collections. For information on ordering reproductions of Athenaeum drawings, please see &lt;a href="http://www.philaathenaeum.org/rights.html"&gt;http://www.philaathenaeum.org/rights.html&lt;/a&gt;.</text>
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                <text>Royal Decree Fabric Linen Writing Tablet (illustrated cover)</text>
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                  <text>The Athenaeum Archives Collection contains institutional records and items pertaining to the history of The Athenaeum of Philadelphia.  Examples include financial ledgers, membership records, collections records, photographs, and objects.  Also, records pertaining to the superintendence of the Athenaeum's National Historic Landmark Building.  (This online collection will grow as items are digitized)</text>
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                <text>Permission to reproduce material from Athenaeum collections must be granted in writing and is at the discretion of The Athenaeum staff. All permission is granted on a per-use basis. Images may not be altered (aside from cropping) without special permission. The user of supplied reproductions assumes all responsibilities for citing sources properly, and using images in conformity with existing copyright laws, and may be required to supply The Athenaeum with a copy of any publication or project in which the images appear. The Athenaeum reserves the right to refuse to reproduce any item in its collections.</text>
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                  <text>Gift of retired architect Robert M. Skaler, 2016. These 1899 postcards, (bulk dates 1900-1976), depict Philadelphia and surrounding area. Originally arranged in 14 ring binders, roughly by subject or type. The number following PC in each item's local id number indicates the original binder number. Binder subjects were as follows: 1-Atlantic City 2-Parks 3-Schools 4-Linens 5-Hotels/Restaurants 6-Center City/Waterfront 7-Churches/Hospitals/Clubs/Prisons/Cemeteries 8-Real Postcards 9-North Broad Street 10-South Broad Street 11-North Philadelphia Real Postcards 12-Art Cards 13-Commerce 14-Lutz/Architects/Panorama/Neighborhoods </text>
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                <text>Postcard to Katy Louis</text>
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                <text>Permission to reproduce material from Athenaeum collections must be granted in writing and is at the discretion of The Athenaeum staff. All permission is granted on a per-use basis. Images may not be altered (aside from cropping) without special permission. The user of supplied reproductions assumes all responsibilities for citing sources properly, and using images in conformity with existing copyright laws, and may be required to supply The Athenaeum with a copy of any publication or project in which the images appear. The Athenaeum reserves the right to refuse to reproduce any item in its collections. For information on ordering reproductions of Athenaeum drawings, please see &lt;a href="http://www.philaathenaeum.org/rights.html"&gt;http://www.philaathenaeum.org/rights.html&lt;/a&gt;.</text>
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                  <text>Sarah Josepha Buell Hale (1788-1879) was a major literary figure of the 19th century. Born in New Hampshire, she was educated at home and by her mother and brother, Horatio. She married a young lawyer, David Hale, who died in 1822. As a result she had to find a way to support herself and her five children. She utilized her literary skills and published a collection of poems with mild success followed by her first novel entitled &lt;em&gt;Northwood&lt;/em&gt; in 1827. &lt;em&gt;Northwood&lt;/em&gt; advocated the repatriation of slaves to Africa by means of Liberia and called for New England style morality throughout the nation. In 1828 she began editing &lt;em&gt;The Ladies’ Magazine of Boston&lt;/em&gt;, the first magazine for women to be edited by a woman. It had its financial difficulties and was united with &lt;em&gt;Godey’s Lady’s Book&lt;/em&gt; (the majorly influential women’s magazine of the 19th century) in 1837. Godey’s was based in Philadelphia and she eventually she moved to Philadelphia from Boston to become more involved in her editorship of the magazine. These magazines acted as her platform to promote her moral agendas. She was a major proponent of equal education for women; however she was not a suffragist. She pushed for men and women to remain within their god-given spheres and believed women needed education to be better moral upholders of the home. Aside from being the editor of &lt;em&gt;Godey’s Lady’s Book&lt;/em&gt;, she wrote many books and poems while lobbying for educational and social reform. Hale is also the author of &lt;em&gt;Mary had a Little Lamb&lt;/em&gt; and the main person responsible for making Thanksgiving a national holiday (it was previously only celebrated in her native New England). Hale died in 1879 and was survived by four children (her oldest son died in 1839).</text>
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                  <text>This collection of letters contains the correspondence of Sarah Josepha Buell Hale. It contains letters relating to both her professional and personal life and spans a 43 year period. It also contains a small number of letters between her close relatives.</text>
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              <text>Salem&#13;
&#13;
Tuesday Eve, August 18th 1829 -&#13;
&#13;
Mrs Hale,&#13;
&#13;
My dear Madam, Do not think that your acceptable&#13;
note has not laid on my table since yesterday noon without an&#13;
answer because I was too indolent to answer it, or because the promise&#13;
it gave was not a most delightful one to me, but know &amp; believe&#13;
that this is the first minute that my attention has not been completely&#13;
engrossed since its reception. When it came to hand I was just dressed&#13;
to attend the centennial lecture at the "first church in this town, I went&#13;
with you in my mind &amp; I could but regret that you were not present&#13;
to enjoy the intellectual treat that day offered us. When anything striking&#13;
way presented to us in the early history of this "first church planted in America"&#13;
illustrative of the simplicity of manners, firmness of faith &amp; ardour of zeal&#13;
of our worthy ancestors, I could but think how such a mind as yours&#13;
would catch at the traits of character drawn forth by the peculiar circumstances.&#13;
I presume that Mr Upham's lecture will be printed &amp; that you will&#13;
read it, but, if it strikes you favourably as an interesting production, it is&#13;
impossible that you should feel that enthusiasm that you would have&#13;
done to have been on the very spot were the little flock two hundred years&#13;
before me [finance?] their church 2 offered up their prayers &amp; praises. A short biography of several of the first Pastors was given in a concise, clear &amp; interesting&#13;
manner. The two of most interest to me were Roger Williams &amp; Hugh Peters, Should&#13;
have named the latter, first, as he was prior to Williams. Indeed Mrs Hale&#13;
I wish not for fictitious tales of magnanimity, heroism or suffering for virtue's&#13;
sake to awaken my sympathies when I can read or hear passages in the lives of such men -&#13;
You will perceive my admiration of Mr Upham's eloquence &amp; excuse (I hope) my prosing&#13;
to you about it -&#13;
It will be impossible my dear Madam that I can visit you in Boston&#13;
as my recent long vacation must prevent my leaving town again soon, but&#13;
&#13;
you will be pleased to accept my thanks for your polite invitation.&#13;
And now, will you not come to Salem unceremoniously! My sister &amp; self&#13;
will receive you most cordially - ss to time I hardly dare name that; as I&#13;
know not what may be your engagements, yet this or next week week we shall&#13;
depend upon seeing you. Perhaps it might be pleasant to you to spend a Sunday&#13;
here - Would that I could promise you more of my attention than merely between&#13;
school hours, but I will do my best. You must visit our museum &amp; that will&#13;
take one long half day, &amp; if the weather is favourable you must see all our town&#13;
&amp; its delightful environs - I wish you were here tomorrow, for Wednesday afternoon&#13;
is my holiday. In addition to my school of thirty two young Ladies I am myself&#13;
a Spanish scholar, my teacher comes down from Boston &amp; spends every Saturday &amp; &#13;
my class recite in the afternoon of that day -&#13;
I will postpone naming my intelligence of Mrs Smith, as also my apology&#13;
for not calling on you when I returned from [?], until I see you &amp;&#13;
hoping that that may be quite soon permit me to day I am your friend&#13;
Ruth P. Morse - &#13;
&#13;
P.S. I find on looking over my note that in my haste in &#13;
writing, I have left out half my words. I have broken the seal [?]&#13;
give you our address, tell the stageman to leave Mrs Bowditch's&#13;
Munroe Street -&#13;
P.S. Seconde. Circumstances over which I could have no control&#13;
prevented my mailing this until this morning, and now I conclude&#13;
you are all inter[?] in commencement at Cambridge; however,&#13;
Sister bids me give her love to you &amp; say that she shall depend&#13;
on seeing you on friday afternoon of this week, do not dsappoint&#13;
us, if the weather [etc.] permits, we shall invite an arriving&#13;
party to meet you - truly your friend&#13;
R.P. Morse&#13;
Monday Morn. Aug 24th&#13;
&#13;
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                <text>Permission to reproduce material from Athenaeum collections must be granted in writing and is at the discretion of The Athenaeum staff. All permission is granted on a per-use basis. Images may not be altered (aside from cropping) without special permission. The user of supplied reproductions assumes all responsibilities for citing sources properly, and using images in conformity with existing copyright laws, and may be required to supply The Athenaeum with a copy of any publication or project in which the images appear. The Athenaeum reserves the right to refuse to reproduce any item in its collections.</text>
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                <text>For information on ordering reproductions of Athenaeum drawings, please see &lt;a href="http://www.philaathenaeum.org/rights.html"&gt;http://www.philaathenaeum.org/rights.html&lt;/a&gt;.</text>
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                  <text>Sarah Josepha Buell Hale (1788-1879) was a major literary figure of the 19th century. Born in New Hampshire, she was educated at home and by her mother and brother, Horatio. She married a young lawyer, David Hale, who died in 1822. As a result she had to find a way to support herself and her five children. She utilized her literary skills and published a collection of poems with mild success followed by her first novel entitled &lt;em&gt;Northwood&lt;/em&gt; in 1827. &lt;em&gt;Northwood&lt;/em&gt; advocated the repatriation of slaves to Africa by means of Liberia and called for New England style morality throughout the nation. In 1828 she began editing &lt;em&gt;The Ladies’ Magazine of Boston&lt;/em&gt;, the first magazine for women to be edited by a woman. It had its financial difficulties and was united with &lt;em&gt;Godey’s Lady’s Book&lt;/em&gt; (the majorly influential women’s magazine of the 19th century) in 1837. Godey’s was based in Philadelphia and she eventually she moved to Philadelphia from Boston to become more involved in her editorship of the magazine. These magazines acted as her platform to promote her moral agendas. She was a major proponent of equal education for women; however she was not a suffragist. She pushed for men and women to remain within their god-given spheres and believed women needed education to be better moral upholders of the home. Aside from being the editor of &lt;em&gt;Godey’s Lady’s Book&lt;/em&gt;, she wrote many books and poems while lobbying for educational and social reform. Hale is also the author of &lt;em&gt;Mary had a Little Lamb&lt;/em&gt; and the main person responsible for making Thanksgiving a national holiday (it was previously only celebrated in her native New England). Hale died in 1879 and was survived by four children (her oldest son died in 1839).</text>
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                  <text>This collection of letters contains the correspondence of Sarah Josepha Buell Hale. It contains letters relating to both her professional and personal life and spans a 43 year period. It also contains a small number of letters between her close relatives.</text>
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              <text>Keene August 6th 1833&#13;
&#13;
My dear Mrs Hale,&#13;
&#13;
I received a letter from Sarah Parker last&#13;
evening - she is in Gaffrey &amp; will be here on Friday -(next week) - It &#13;
will be both convenient &amp; pleasant to have David here at&#13;
the same time &amp; I shall expect him - Shall you not&#13;
accompany him - it [is as ?] provoking in both of you that you&#13;
did not write to me before - &amp; then how politic to forgive&#13;
my silence! --&#13;
You are all I suppose in Troy, by this time, talking Greek&#13;
with Mrs Willard - talking about the Greeks I mean - I read&#13;
her eloquent Appeal with a great deal of pleasure - She certainly&#13;
is a wonderful woman - &amp; you must have a fine&#13;
treat at Troy - it is a beautiful, beautiful place - independent&#13;
of its society - I know of [DE:?]no[DE:?] place calculated&#13;
to give one more "agreeable sensations", what the french&#13;
pilgrims thought worth a tour to Jerusalem -&#13;
- I received a letter from Mrs Knickvacker this week&#13;
containing an invitation to meet you there - tell&#13;
her with much love, that it will "scarcly" [scarcely] be convenient&#13;
to leave home at present not even to find agreeable&#13;
sensations at beautiful Troy - so to see these I love very&#13;
dearly, the worthies of her kind fathers's family. -&#13;
Say every thing that is kind &amp; affectionate to both Mrs&#13;
H - &amp; the Dr for me - not forgetting Ursula &amp; cousin&#13;
Richard. --- Let me hear from you very soon -&#13;
My object in writing now is merely to assure Leiut [Lieut.]&#13;
Hale that I am expecting him - as I thought something&#13;
in your letter implied a wish to know&#13;
this fact - I mean if it would be "convenient"&#13;
with much love&#13;
very affectionately&#13;
your sister&#13;
SKH&#13;
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&#13;
Correction:  Possibly Sarah K. Hale to Sarah Josepha Hale</text>
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                  <text>Sarah Josepha Buell Hale (1788-1879) was a major literary figure of the 19th century. Born in New Hampshire, she was educated at home and by her mother and brother, Horatio. She married a young lawyer, David Hale, who died in 1822. As a result she had to find a way to support herself and her five children. She utilized her literary skills and published a collection of poems with mild success followed by her first novel entitled &lt;em&gt;Northwood&lt;/em&gt; in 1827. &lt;em&gt;Northwood&lt;/em&gt; advocated the repatriation of slaves to Africa by means of Liberia and called for New England style morality throughout the nation. In 1828 she began editing &lt;em&gt;The Ladies’ Magazine of Boston&lt;/em&gt;, the first magazine for women to be edited by a woman. It had its financial difficulties and was united with &lt;em&gt;Godey’s Lady’s Book&lt;/em&gt; (the majorly influential women’s magazine of the 19th century) in 1837. Godey’s was based in Philadelphia and she eventually she moved to Philadelphia from Boston to become more involved in her editorship of the magazine. These magazines acted as her platform to promote her moral agendas. She was a major proponent of equal education for women; however she was not a suffragist. She pushed for men and women to remain within their god-given spheres and believed women needed education to be better moral upholders of the home. Aside from being the editor of &lt;em&gt;Godey’s Lady’s Book&lt;/em&gt;, she wrote many books and poems while lobbying for educational and social reform. Hale is also the author of &lt;em&gt;Mary had a Little Lamb&lt;/em&gt; and the main person responsible for making Thanksgiving a national holiday (it was previously only celebrated in her native New England). Hale died in 1879 and was survived by four children (her oldest son died in 1839).</text>
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                  <text>This collection of letters contains the correspondence of Sarah Josepha Buell Hale. It contains letters relating to both her professional and personal life and spans a 43 year period. It also contains a small number of letters between her close relatives.</text>
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              <text>I am glad, My dear [?], that you can account so satisfactorily&#13;
for your silence - yet seven months was a long while&#13;
for us wonder in - not too long however for you if thoughts&#13;
of your Sisters &amp; of home brought back feelings that contrasted&#13;
painfully with the confinement of your studies&#13;
&amp; made the discipline of West Point appear more irksome.&#13;
I rejoice that you have determined to excel, - nothing&#13;
more is necessary but to persevere - You have a&#13;
motive that must be constantly stimulating you in the&#13;
knowledge that your Mother &amp; Sisters are expecting much&#13;
from you &amp; that the influence of your example is all&#13;
important to your younger brothers - this alone I should&#13;
think would prevent you being a [cipher?] in the world&#13;
- besides in our country a man can hardly be respectable&#13;
let his fortune be what it will, without possessing some&#13;
kind of talent that might render him independent&#13;
&amp; useful - There never will be a class of idle and&#13;
luxurious gentlemen here, I think - Did you ever&#13;
read the Castle of Indolence? - It is sixteen years since&#13;
I read it - but I copied in my common place book&#13;
some extracts for my own benefit, which at the risk&#13;
of you thinking I have more than a slight tinge&#13;
of azure &amp; my "familiar letter is like a book" I &#13;
shall transcribe for you -- Industry is addressing the &#13;
sons of Indolence, &amp; says&#13;
&#13;
"It was not by vile loitering in ease&#13;
That Greece obtained the brighter palm of art&#13;
That soft yet ardent Athens learn'd to please,&#13;
To [Too] keen the wit &amp; to [too] sublime the heart,&#13;
In all supreme! complete in every part!&#13;
It was not thence majestic Rome arose&#13;
And o'er the nations shook her conquering dart;&#13;
For sluggards brow the laurel never grows;&#13;
&#13;
Renown is not the child of indolent repose.&#13;
&#13;
But should to fame your hearts unfeeling be,&#13;
If right I read you please all require;&#13;
Then hear how best may be obtained this fee,&#13;
How best enjoyed this natures wide desire.&#13;
Toil &amp; be glad! [let] industry inspire&#13;
Into your quicken'd limbs her buoyant breath!&#13;
Who does not act is dead. -&#13;
Would you then learn to dissipate the band&#13;
of the huge [threatening] difficulties dire&#13;
- - that mans&#13;
Soul appall and damp his rising fire?&#13;
Resolve, Resolve, &amp; to be men aspire&#13;
Exert that noblest privilege, alone&#13;
Here to mankind indulg'd, controul [control] desire!&#13;
Let godlike Reason from her sovreign [sovereign] throne&#13;
Speak the commanding words - I will - and it is done."&#13;
&#13;
There now - new and [ripe?] for copying this, buy committing it &#13;
to memory, &amp; let "I Will" be your motto - I wont bore you&#13;
with any more lectures, only dont read Bulwers novels&#13;
&amp; Byrons poetry - even tho' you are clear sighted enough to &#13;
perceive that their influence is not healthy - you are moved&#13;
by them you acknowledge - &amp; in all cases of contagion the&#13;
most susceptible are the surest victims to this exposure -&#13;
- How amused I was at [Corrinnas?] graphic &amp; humourous &#13;
description of the influence of Eugene Aram over her&#13;
[brother?] G- - but with "the amusing incident that occured [occurred]&#13;
at your ball" I shall leave it to the imagination! -&#13;
Martha Ann spent the vacation in Boston, while Josepha&#13;
remained with 'cousin Sarah' William also is here now &amp; we&#13;
expect will spend some time with us -- Miss Fiskes school is&#13;
filled to overflowing -- Miss Wittington is as pretty as ever - Time&#13;
touches not that tiny amaranth - her bright eyes have charmed&#13;
him, I suspect - Miss Kent - Oh! why would you not like Miss&#13;
Kent? - by the way speaking of likes - how uncourteous of you&#13;
not to say one word of your faithful admirer Miss Dawes -&#13;
- so constant in her enquiries &amp; her admiration of my hopeful&#13;
Nephew - [D.F.?] is still at Miss Fiskes - sweet, lovely &amp; pensive -&#13;
Elizabeth - Oh! I pity Elizabeth - because she has no&#13;
&#13;
female protection - She has kind &amp; affectionate feelings &amp; all &#13;
the [materil?] [material] for a very superior woman - she may&#13;
make one yet - but her Father is old &amp; peevish &amp; [iritable?] [irritable]&#13;
&amp; tyrannical - but then he is her Father - Now dont be&#13;
romantic enough to think of Elizabeth to the exclusion &#13;
of "divine philosophy" -- Remember&#13;
"The man who would thrive in his art&#13;
must keep the girls away from his heart"&#13;
If I do not stop writing I shall quote my whole store&#13;
of nursery rhymes &amp; quite shock your fastidiousness&#13;
but in sober prose without any rhyme but with&#13;
much reason believe me your affectionate&#13;
Aunt SK Hale&#13;
&#13;
P.S- It has just occurred to me why there is such a quantity of verse&#13;
in my letter - I have been writing with the girls of a swan; -&#13;
but it has lost all the dignity &amp; grace that it had upon the&#13;
water, it even was a most [DE: ?] ungraceful bird up[ED: page damaged]&#13;
land you know. - Miss Ware enquires in one of her letters "[ED: page damaged]&#13;
the swan was consecrated to Apollo &amp; so celebrated by the [ED: page damaged]&#13;
for his song - when in fact it is a most unmusical bird?" We&#13;
looked over numerous bulky volumes to find a satisfactory&#13;
reason - Have you ever met any thing in your french mythology&#13;
upon the subject? - Speaking of Miss Ware makes me think of the &#13;
pretty new teacher who has just arrived at Miss Fiske's - only&#13;
seventeen - understands a thousand &amp; one languages - executes&#13;
difficult Italian music - has a pretty fairy like figure - a &#13;
sunny blue eye &amp; a complexion like a sweet pea - &amp; her&#13;
name is Anna - not "[Commenci]"-(How classical that would&#13;
be) but [Maria?] - Oh! that is far more sentimental - -&#13;
- I have just seen her - while writing my letter, &amp; have decided&#13;
that she is pretty - very - front view -- but much to my mortification&#13;
she has a bad profile, for therein she is said to resemble&#13;
one whom it is impolite to talk about - but who is like her&#13;
sex in putting the essence of the letter in the postscript&#13;
when she send the love of Martha &amp; Josepha to their dear&#13;
Brother. -&#13;
&#13;
Cadet D.E. Hale&#13;
West Point&#13;
N.Y.&#13;
&#13;
&#13;
</text>
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                <text>Salmon K. Hale to Sarah Josepha Hale&#13;
&#13;
Correction: This appears to  be from an aunt in Keene, NH  (possibly a S. K. Hale) to  David E. Hale at  West Point</text>
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                <text>Hale, Sarah Josepha Buell, 1788-1879</text>
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                <text>1834-06-18</text>
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        <name>David E. Hale</name>
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        <name>Miss Catherine Fiske's Young Ladies Seminary</name>
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      <tag tagId="129">
        <name>United States Military Academy</name>
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                  <text>The Camden Collection consists of the artwork and personal materials of artist and graphic designer Robert L. M. Camden (1855-1922).  It includes drawings, prints,  photographs, and manuscripts.  Examples of his work include cigar box designs, notepad covers, lettering and company logos.  For most of his career, Camden worked as a solo artist and illustrator based in Philadelphia.  In 1887, he briefly partnered with René Théophile de Quélin as "Camden &amp; Quelin Artists, Designers &amp; Illustrators."</text>
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                <text>Sammee Linen Writing Tablet (illustrated cover)</text>
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                  <text>Gift of retired architect Robert M. Skaler, 2016. These 1899 postcards, (bulk dates 1900-1976), depict Philadelphia and surrounding area. Originally arranged in 14 ring binders, roughly by subject or type. The number following PC in each item's local id number indicates the original binder number. Binder subjects were as follows: 1-Atlantic City 2-Parks 3-Schools 4-Linens 5-Hotels/Restaurants 6-Center City/Waterfront 7-Churches/Hospitals/Clubs/Prisons/Cemeteries 8-Real Postcards 9-North Broad Street 10-South Broad Street 11-North Philadelphia Real Postcards 12-Art Cards 13-Commerce 14-Lutz/Architects/Panorama/Neighborhoods </text>
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                <text>Postcards</text>
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            <description>A related resource</description>
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                <text>Robert M. Skaler Postcard Collection, Athenaeum of Philadelphia</text>
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            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="39764">
                <text>Permission to reproduce material from Athenaeum collections must be granted in writing and is at the discretion of The Athenaeum staff. All permission is granted on a per-use basis. Images may not be altered (aside from cropping) without special permission. The user of supplied reproductions assumes all responsibilities for citing sources properly, and using images in conformity with existing copyright laws, and may be required to supply The Athenaeum with a copy of any publication or project in which the images appear. The Athenaeum reserves the right to refuse to reproduce any item in its collections.</text>
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                <text>For information on ordering reproductions of Athenaeum drawings, please see &lt;a href="http://www.philaathenaeum.org/rights.html"&gt;http://www.philaathenaeum.org/rights.html&lt;/a&gt;.</text>
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                  <text>Gift of retired architect Robert M. Skaler, 2016. These 1899 postcards, (bulk dates 1900-1976), depict Philadelphia and surrounding area. Originally arranged in 14 ring binders, roughly by subject or type. The number following PC in each item's local id number indicates the original binder number. Binder subjects were as follows: 1-Atlantic City 2-Parks 3-Schools 4-Linens 5-Hotels/Restaurants 6-Center City/Waterfront 7-Churches/Hospitals/Clubs/Prisons/Cemeteries 8-Real Postcards 9-North Broad Street 10-South Broad Street 11-North Philadelphia Real Postcards 12-Art Cards 13-Commerce 14-Lutz/Architects/Panorama/Neighborhoods </text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Samuel B Huey School</text>
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            <description>An account of the resource</description>
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                <text>Postcard to Miss Maude C Higgons</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1912</text>
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          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Image</text>
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          <element elementId="63">
            <name>Extent</name>
            <description>The size or duration of the resource.</description>
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                <text>1 postcard</text>
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            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
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                <text>Postcards</text>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>290-PC-08-117</text>
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                <text>https://www.philadelphiabuildings.org/pab/app/ho_display.cfm/1237130</text>
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          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
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                <text>en</text>
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          <element elementId="46">
            <name>Relation</name>
            <description>A related resource</description>
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                <text>thumb:001:https://www.philadelphiabuildings.org/pab-images/medium-display/pat-skaler/290-PC-08-117.jpg</text>
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                <text>full:001:https://www.philadelphiabuildings.org/pab-new/iiif.cfm/84FD0E35-155D-01E7-00A1146149BA1ED1/full/1000,/0/default.jpg</text>
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                <text>thumb:002:https://www.philadelphiabuildings.org/pab-images/medium-display/pat-skaler/290-PC-08-117_Verso.jpg</text>
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                <text>full:002:https://www.philadelphiabuildings.org/pab-new/iiif.cfm/6405B95A-155D-01E7-0055CDE5143A3F93/full/1000,/0/default.jpg</text>
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            <name>Is Part Of</name>
            <description>A related resource in which the described resource is physically or logically included.</description>
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                <text>Robert M. Skaler Postcard Collection, Athenaeum of Philadelphia</text>
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          <element elementId="77">
            <name>Has Format</name>
            <description>A related resource that is substantially the same as the pre-existing described resource, but in another format.</description>
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                <text>https://www.philadelphiabuildings.org/pab-new/iiif.cfm/HI-SK20161207-1138/manifest</text>
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          <element elementId="79">
            <name>Spatial Coverage</name>
            <description>Spatial characteristics of the resource.</description>
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                <text>S 52ND ST near PINE ST, Philadelphia, PA</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                <text>Permission to reproduce material from Athenaeum collections must be granted in writing and is at the discretion of The Athenaeum staff. All permission is granted on a per-use basis. Images may not be altered (aside from cropping) without special permission. The user of supplied reproductions assumes all responsibilities for citing sources properly, and using images in conformity with existing copyright laws, and may be required to supply The Athenaeum with a copy of any publication or project in which the images appear. The Athenaeum reserves the right to refuse to reproduce any item in its collections. For information on ordering reproductions of Athenaeum drawings, please see &lt;a href="http://www.philaathenaeum.org/rights.html"&gt;http://www.philaathenaeum.org/rights.html&lt;/a&gt;.</text>
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            <name>Is Referenced By</name>
            <description>A related resource that references, cites, or otherwise points to the described resource.</description>
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                <text>&lt;a href="https://www.philadelphiabuildings.org/pab-new/app/pj_display.cfm/156971"&gt;Samuel B. Huey School&lt;/a&gt;</text>
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        <name>Real Photo Postcards</name>
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        <name>West Philadelphia</name>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Sculpture Collection</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>The Athenaeum’s Sculpture Collection comprises a variety of European and American works in marble, bronze, plaster and ceramic, dating mostly from the 19th century.  A variety of historical literary, mythological, ancient classical, political, military, arts and science figures are represented. &#13;
&#13;
Additional sculptures relating to Napoleon Bonaparte and his family may be viewed online in the Athenaeum's Featured Collection, "Bonaparte Collection." </text>
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      <name>Physical Object</name>
      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
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        <name>Dublin Core</name>
        <description>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/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="50233">
                <text>Samuel Breck</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Henry Dmochowski Saunders</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1855</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Bronze bas relief portrait of Samuel Breck, depicted in profile view within an oval ornately-carved oak rococo style frame. &#13;
 &#13;
Born in Boston and educated in France, Breck (1771-1862) served as president of the Athenaeum from 1845 to 1862. It was during his tenure that the cornerstone of the present Athenaeum building was laid in 1845. In 1855 the Board of Directors decided to honor Beck's service to the institution by commissioning a medallion of him by sculptor Henry Dmochowski Saunders.  A political exile from Lithuania (then part of Russian Poland), Saunders lived in Philadelphia from 1853 to 1857, having developed a good reputation for creating busts, medallions and statuettes of many notable figures. His busts of Kosciuszko and Pulaski are in Washington, at the Capitol.</text>
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            <name>Extent</name>
            <description>The size or duration of the resource.</description>
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                <text>42.5" H x 34.0" W</text>
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          <element elementId="64">
            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
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                <text>Bronze, oak</text>
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          <element elementId="90">
            <name>Provenance</name>
            <description>A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.</description>
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                <text>Commissioned from the artist by the Athenaeum</text>
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            <name>Is Part Of</name>
            <description>A related resource in which the described resource is physically or logically included.</description>
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                <text>General Collection, Museum Collection, The Athenaeum of Philadelphia&#13;
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>AP.37.01</text>
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            </elementTextContainer>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="50242">
                <text>http://www.philaathenaeum.org/rights.html</text>
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    <tagContainer>
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        <name>Beck</name>
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        <name>Saunders</name>
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          <description>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/.</description>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Portraits and Paintings</text>
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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>Presented here are portraits and paintings found in various Athenaeum collections.  Most are oil paintings, though a few portraits have been included that were created in other mediums.  There are additional portraits and paintings in the Bonaparte Collection, also available on this site.</text>
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    <itemType itemTypeId="6">
      <name>Still Image</name>
      <description>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.</description>
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        <name>Dublin Core</name>
        <description>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/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="37948">
                <text>Samuel, Bridgeda B.</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>1968.02.01</text>
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          <element elementId="63">
            <name>Extent</name>
            <description>The size or duration of the resource.</description>
            <elementTextContainer>
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                <text>3.75" x 5"</text>
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          </element>
          <element elementId="64">
            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
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                <text>Oil/wood</text>
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          <element elementId="72">
            <name>Is Part Of</name>
            <description>A related resource in which the described resource is physically or logically included.</description>
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                <text>General Collection, Museum Collection, The Athenaeum of Philadelphia</text>
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          <element elementId="90">
            <name>Provenance</name>
            <description>A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource.</description>
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                <text>Gift of Lois Samuel.</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Portrait of Bridgeda Benjamin Samuel, seated on sofa, facing forward.</text>
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                <text>Frame is pine painted black with metal liner.</text>
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              <elementText elementTextId="37956">
                <text>French labels on backing board "Maison Lambert / Fondee en 1789/ Specialite de Dorure &amp; d'Encadrements Artistiques/ Grand Assortiment de Modeles Riches/ 19 Cour cu Commerce, ST. Andre-des_Arts, Paris" </text>
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                <text>1968.01.01-Portrait of husband, Samuel David Samuel</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="37958">
                <text>http://www.philaathenaeum.org/rights.html</text>
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            </elementTextContainer>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Portraits and Paintings</text>
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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>Presented here are portraits and paintings found in various Athenaeum collections.  Most are oil paintings, though a few portraits have been included that were created in other mediums.  There are additional portraits and paintings in the Bonaparte Collection, also available on this site.</text>
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    <itemType itemTypeId="6">
      <name>Still Image</name>
      <description>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.</description>
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        <name>Dublin Core</name>
        <description>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/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="37937">
                <text>Samuel, Samuel David (1732-1798)</text>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>1968.01.01</text>
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          <element elementId="63">
            <name>Extent</name>
            <description>The size or duration of the resource.</description>
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                <text>3.75" x 5"</text>
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          </element>
          <element elementId="64">
            <name>Medium</name>
            <description>The material or physical carrier of the resource.</description>
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                <text>Oil/wood</text>
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          <element elementId="72">
            <name>Is Part Of</name>
            <description>A related resource in which the described resource is physically or logically included.</description>
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                <text>General Collection, Museum Collection, The Athenaeum of Philadelphia</text>
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          <element elementId="90">
            <name>Provenance</name>
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                <text>Gift of Lois Samuel.</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Portrait of Samuel David Samuel from the waist up, facing forward, wearing a dark coat. </text>
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                <text>Frame is pine and painted black with metal liner. </text>
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                <text>French labels on backing board "Maison Lambert / Fondee en 1789/ Specialite de Dorure &amp; d'Encadrements Artistiques/ Grand Assortiment de Modeles Riches/ 19 Cour cu Commerce, ST. Andre-des_Arts, Paris” </text>
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                <text>1968.02.01-Portrait of wife Bridgeda Benjamin Samuel</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="37947">
                <text>http://www.philaathenaeum.org/rights.html</text>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                <elementText elementTextId="42842">
                  <text>Robert L. M. Camden Collection</text>
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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>The Camden Collection consists of the artwork and personal materials of artist and graphic designer Robert L. M. Camden (1855-1922).  It includes drawings, prints,  photographs, and manuscripts.  Examples of his work include cigar box designs, notepad covers, lettering and company logos.  For most of his career, Camden worked as a solo artist and illustrator based in Philadelphia.  In 1887, he briefly partnered with René Théophile de Quélin as "Camden &amp; Quelin Artists, Designers &amp; Illustrators."</text>
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    <itemType itemTypeId="6">
      <name>Still Image</name>
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    <elementSetContainer>
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        <name>Dublin Core</name>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>219-PR-666</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>San Felice Cigars</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>print</text>
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          <element elementId="72">
            <name>Is Part Of</name>
            <description>A related resource in which the described resource is physically or logically included.</description>
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                <text>Robert L. M. Camden Collection, The Athenaeum of Philadelphia</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                <text>http://www.philaathenaeum.org/rights.html</text>
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