The photographs in The Connecticut River follow this major waterway for 410 miles, from its origin near the Canadian border to its wide mouth on Long Island Sound, giving us a vivid portrait of a living artery of the New England landscape. Author and photographer Al Braden opens the book with an essay introducing important aspects of the river, and then presents 136 full-page color photos, ranging from close-ups to dramatic aerials, to reveal the river as few people are privileged to experience it. Readers will see and learn about the landscape, history, development, conservation, geologic formations, wildlife, flora, and, of course, the moods of the water, sky, and riverbank. Informative captions provide a wealth of information about the images, from pristine misted mornings to rich valley farmlands and modern hydroelectric turbines. Together, the images and text provide a poignant look at the river and document its centrality to the development of the unique character of New Hampshire, Vermont, Massachusetts, and Connecticut. Includes select bibliography and list of resources.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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