13 10 134 https://slaverymonuments.org/files/original/7864b6655d7a95cdb7519ffbfabfccbc.jpg 15fef5faf61d8fe83f20b85d678dd1e4 Dublin Core 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/. Title A name given to the resource African American History Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials grouped under this theme acknowledge the important contributions of African Americans to American history. Slavery is anchored in the commemorative works as part of the larger story of Black existence in the United States. Some monuments, such as <a href="https://www.slaverymonuments.org/items/show/1133" target="_blank" rel="noopener">South Carolina African-American History Monument</a> and the <a href="https://www.slaverymonuments.org/items/show/1134" target="_blank" rel="noopener">Texas African American History Memorial</a>, include bas-reliefs of enslaved men and women, signaling these states' role in slavery. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1183" target="_blank" rel="noopener">Truths that Rise from the Roots Remembered</a>, honor the ability of ordinary Black people in Alexandria, Virginia (a slave trade center in the United States) to survive and thrive despite slavery, racism, and white supremacy.  Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image 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. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image Varied: 144 to 180 in. (365.76 to 457.2 cm) Dublin Core 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/. Title A name given to the resource Truths that Rise from the Roots Remembered (Alexandria, Virginia) Creator An entity primarily responsible for making the resource Meadows, Jerome, 1951- Date A point or period of time associated with an event in the lifecycle of the resource June 17, 1995 Contributor An entity responsible for making contributions to the resource EDAW (now AECOM); Norfolk Southern Corporation; Carlyle Development; City of Alexandria Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant African American Heritage Park, 309 Holland Lane, Alexandria, Virginia, 22314, United States Medium The material or physical carrier of the resource. Bronze; Brick; Grey stone Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Description An account of the resource Truths that Rise from the Roots Remembered is located in the African American Heritage Park, a nine-acre memorial park. The park was the site of a historic Black Baptist Cemetery, established in 1885, and later desecrated when the City of Alexandria used the space as a landfill in the early 1960s. Through archaeological excavations, (1985–1992), six headstones were identified and remain in their original location. The park was designed to co-exist with the original landscape of the cemetery and to preserve the wetlands on the site. Truths that Rise from the Roots Remembered includes a group of three stylized bronze trees whose surfaces are etched with names, historical information, and photographs of the African American community in Alexandria; a commemorative grave mound sculpture with limestone supports; and a bronze bookstand. The trees and mound are contained within a circle surrounded by gray flag stone and a semi-circular brick wall. Embedded in the gray flagstone is a red limestone circle, marked with the compass points. Subject The topic of the resource Subject (Topic) African Americans--History Freedom Public art Public sculpture Resistance Virginia--Alexandria Subject (Object Type) Commemorative sculpture Extent The size or duration of the resource. 144 to 180 in. (365.76 to 457.2 cm) Source A related resource from which the described resource is derived Photographs by Renée Ater Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Cressey, Pamela. “Sculpture Provides Inspriation.” Alexandria Gazette Packet, July 20, 1995. Accessed August 14, 2019. https://www.alexandriava.gov/historic/info/default.aspx?id=42988. Anderson, Adrian D. The African American Heritage Park, Alexandria, Virginia. Minneapolis, MN: Tellus Consultants, 1992. Accessed August 14, 2019. https://www.alexandriava.gov/uploadedFiles/historic/info/archaeology/SiteReportAnderson1992AfricanAmericanHeritagePark.pdf. Has Part A related resource that is included either physically or logically in the described resource. Plaque at the entrance to the African American Heritage Park (left): From the establishment of Alexandria in 1749 to the present time, African Americans have been a vibrant part of this city’s history. The City of Alexandria would not exist in its present form were it not for the economic, social, and cultural contributions of African Americans both slave and free. As Alexandria developed in the 19th century, African Americans began to establish enclaves with distinctive names and characteristics. Many of these areas such as: The Berg, The Bottoms, Cross Canal, Hayti, The Hump, Sunnyside, and Uptown survive today and retain historical significance for African Americans currently living in Alexandria. From these original African American neighborhoods, a sense of community developed, which led to the creation of churches, schools, civic and social organizations. these memorial sculptures in this park highlight people and institutions important to Alexandria’s African American heritage. The land for this memorial is of special significance. In 1885 this parcel of land was purchased by the Black Baptist Cemetery Association and a number of gravesites remain here. Hooff’s Run, which runs through this site provided access to the Potomac River and the town of Alexandria for a variety of traders and retailers. By the middle of the 19th century, railroads provided a new transportation system. Established about 1851, the first railroad in this vicinity was the Orange and Alexandria which passed through this land on its way from the town center to more western parts of Virginia. The Norfolk Southern Corporation has set aside this land as a memorial to recognize and celebrate and commemorate African American contributions to the Alexandria community. The Alexandria African American Heritage Park, a gift to the City from the Norfolk Southern Corporation, will contribute to the rich cultural heritage of Alexandria. The history and accomplishments of African American leaders will stimulate young people to develop esteem, hope, determination, and pride in themselves. The memorial park coexists with the original landscape of the cemetery and preserves the interesting and varied plant life on this site. The design creates an atmosphere suitable for nature walks or meditation. Plaque at the entrance to African American Heritage Park (right): Truths That Rise From The Roots — Remembered We bury more than our bodies at rest Deep within the forgiving soil We bury as well our  Our dreams, our legends, our revelry, our toil Here is where we enshrine our wisdom To be joined with that of our yesteryears And here is where our tomorrows are planted As lessons learned against future fears The artistic works incorporated into this Memorial/Park offer a symbolic testament to the efforts and accomplishments of a great many local individuals, institutions and organizations both past and present. The names and images etched upon these forms, as an acknowledgment of but some of those who have ’passed this way before’, represent the foundation, the builders, the source and substance of this historic and vibrant community. As a context in which history and art are joined this public-art setting serves as a cultural marker — a communal space in which the sons and daughters of the here and now celebrate and honor the heroes of their past. Jerome B. Meadows — Artist Zoe Briscoe — Research, Technical Assistant Park Design — EDAW Etching on the commemorative grave mound sculpture: Black Baptist Cemetery Association 1885 From the past they speak, in varied voice and familiar faces Mary Rome Matilda Gaines Sarah Hunter Abraham Hunter Julia Ann Washington Etching on the tree nearest to commemorative grave mound, left side: Education Alexandria Academy Washington Free School Mt. Hope Academy 1837-1843 Alfred Perry Sylvia Morris Lancasterian School Society of Friends American Baptist Free Mission Society Mary Chase 1861 Saint Robe Institute 1881 Jane A. Crouch Miss Sarah Gray First Select Colored School 1862 Rev. and Mrs. Robinson Rev. G.W. Parker Amanda Borden The First Free Colored Mission Day School 1863 Union Town School 1863 Nancy Williams The Primary School 1863 William K. Harris Richard H. Lyles Newtown School 1863 Anna Bell Davis Leannah Powell The Sickles Barracks School 1863 The Jacobs Free School 1864 Louisa Jacobs Harriet Jacobs Miss S.Y. Lawton Miss E.M. Lawton First National Freedmen’s School 1864 Harriet Byron Douglass 1864 Second National Freedmen’s School Rev. M.F. Sluby Laura Phenix Miss M.F. Simms Mary M. Nickens The Washington St. School Miss L.V. Lewis Etching on the tree nearest to commemorative grave mound, right side: Education Pennsylvania Freedmen’s Relief Association 1865 Bureau of Refugees, Freedmen and Abandoned Lands Gustavus Lumpkins 1867 First Free School Society of Alexandria George Seaton George W. Bryant Anthony L. Perpener Hannibal King James Piper George P. Douglas John H. Davis Samuel W. Madden J. Mck. Ware Charles Watson George W. Parker Rev. Clem Robinson George W. Sims Snowden School for Boys William F. Powell Carrie Claggett John Parker Patrick H. Lumpkins Hallowell School for Girls Matilda A. Madden Parker-Gray School 1920 Henry T. White Laura Dorsey Susie P. Madden Margaret T. Young Sarah D. Gray Harriet Thornton James B. Howard Rozier D. Lyles Mamie  E. Anderson Rev. A.W. Adkins Wesley Elam William Pitts Ferris Holland Louis Johnson Edward L. Patterson John T. Butler Lyles-Crouch Elementary School Julia Pritchett Seminary School Geraldine Stevenson St. Joseph’s Catholic School The Oblate Sisters of Providence Sister Mary John Bearchmann Sister Mary Eusebius Charles Houston Elementary School Helen L. Davis Martha Millier-Kindergarten Saretta N. Cope-Kindergarten Etching on the second tree from the commemorative grave mound, left side: Religion Alfred Street Baptist Church 1801 Jesse Henderson Evans Williams Daniel Taylor Rev. Samuel Madden Rev. Alexander A. Truatt Rev. Andrew W. Adkins “Old Zion” Methodist Church 1832 Roberts Memorial United Methodist Church 1832 James Harper Francis Hoy James Evans Philip Hamilton Simon Turley Rev. James Thomas Rev. Robert H. Robinson Rev. James Howard Beulah Baptist Church 1863 Rev. Clem Robinson Zion Baptist Church 1864 Rev. Robert Woodson, Pastor Shiloh Baptist Church 1865 Rev. Charles H. Rodgers Rev. Leland Warring Second Baptist Church Third Baptist Church 1865 Rev. Samuel Stewart Rev. Samuel Ross Meade Memorial Espiscopal Church 1869 Rev. J.W.M. Powell Canon John G. Davis Ebenezer Baptist 1880 Rev. Field Cooke Rev. L. Henry Bailey Rev. W. Howard Stanton Rev. N.B. Hargraves Rev. Austin A. Booker Good Shepard Episcopal Chapel 1880 St. Cyprian’s Episcopal Mission Etching on the second tree from the commemorative grave mound, right side: Religion Mt. Jezreel 1890 Rev. Coleman Rev. O.L. Miles Oakland Baptist Church 1891 Rev. E.R. Jackson Clara Adams William Carpenter Brook Johnson William Jerrell John W. Casey Maggie Hall Smith Wahler Daniel Simms, Jr. Nancy Shepherd Harriet Short Matilda Woods Mollie Nelson St. Joseph’s Catholic Church 1915 Thomas Blair Katie Bowman Carrie Crouch John Johnson John Parker Tabernacle of God and Saints of Christ 1921 St. John’s Baptist Church 1926 Rev. and Mrs. J.G. West Deacon David Askew Deacon Raymond Deacon Holmes Bethel Presbyterian Church Community Presbyterian Church 1928 Rev. Richard B. Strong United House of Prayer Russell Temple C.M.E. 1941 Alleyne AME Zion Church 1949 Rev. Frederick Douglass Williams Rev. Grayson Kelch Etching on the third tree from the commemorative grave mound, left side: Civic Thomas Fuller - 1789 Bejamin Banneker - 1791 William Goddard Dominick Bearcroft Alexander Bryan - 1833 Mary Savoy - 1839 David Jarbour H. Dulany - 1850 Mary Cole John Williams Moses Hepburn John Hepburn Henry Anderson Charles Watson George Seaton John Seaton Nellie Whiting Magnus L. Robinson Norman B. Pinn Freeman N.M. Murray The Home News, 1900 Edmund Hill W. Walter Jackson Murray Brothers Printers, 1903 Raymond H. Murray F. Morris Murray Norman D. Murray Miss. Susie B. Buckner Florence Murray Lewis Smith Samuel A. Tucker L.H. Williams Alexandria Home Bakery John W. Jackson Margaret Evans Washington Jackson Thomas Arrington Laura Watson Harriet Ware Etching on the third tree from the commemorative grave mound, right side: Civic Professor T.E. Dulany C. William Gray W.C. Arnold Lloyd Lewis Richard N. Poole Henry Brooks Mrs. Mattie Brooks Mrs. Katie Skinner Mrs. Lorraine Funn Atkins Mrs. Annie B. Rose Mrs. Connie Chissell George Gaddis Arthur Bracey Library Sit-In - 1939 B. Wilbert Tucker Morris Murray Edward Gaddis Clarence "Buck" Strange Sgt. George Watson Doctors Albert Johnson - 1892 J. Milton Hopkins - c. 1894 Frederick P. barrier - c. 1917 Oswald Durant Henry Ladrey C. Aubrey Lindo Abe Penn Paul Piper Charles West Herbert G. Chissell James Carpenter Newman C. Taylor Frederick Perry W. Lee Harris Elijah E. Lacey T. Bernard Blue William Skinner Lawyers James Webster Thomas Watson William Macmurray J. Byron Hopkins Alfred Collins Judge Joseph Waddy James Raby Rights Information about rights held in and over the resource City of Alexandria, City Hall, 301 King Street, Alexandria, Viriginia, 22314, United States abstract bronze inscription names trees https://slaverymonuments.org/files/original/67b8e27e6cda1fd8ef86bbd98e3d7660.jpeg 3e0da7e641426c2f436b23f168194bb2 https://slaverymonuments.org/files/original/7b569c21c8b89df24dee1476382608a0.jpeg a84a508d1aea75be08223baa1bdf49de https://slaverymonuments.org/files/original/62dbd496c4883f89759fbe0d7fd4a597.jpeg c40efc8bd8c84298f7347725aaeb3e73 https://slaverymonuments.org/files/original/209dd586f3270fd509dd8ceb6e0a2b72.jpeg c0f1240e5535be316ae96a657a7bde8e Dublin Core 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/. Title A name given to the resource Underground Railroad Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The memorial and monuments in this collection are dedicated to the Underground Railroad, an organized network of routes and safe houses that assisted freedom seekers [enslaved people] on their journeys northward. The Underground Railroad was part of the larger movement for the abolition of slavery in the United States. The movement to abolish slavery was a complicated political movement that, at its core, was driven by the resistance and activism of enslaved Black people and freedmen and women abolitionists. Historian Manisha Sinha explores the history of American abolition, including the Underground Railroad in The Slave's Cause: A History of Abolition (2016).  Although Harriet Tubman is the most famous conductor in the Underground Railroad, she is not the subject of the memorials featured in this collection (see the collection on this site, <a href="https://www.slaverymonuments.org/collections/show/1" target="_blank" rel="noopener">Black Abolitionists</a>, to view works specifically dedicated to her life and work). Rather the monuments and memorials featured here, such as Ed Dwight's <a href="https://www.slaverymonuments.org/items/show/1170" target="_blank" rel="noopener">Gateway to Freedom: International Memorial to the Underground Railroad</a>, highlight other prominent conductors, as well as celebrate the fortitude and bravery of the freedom seekers as they made the perilous journey north. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image 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. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image Unknown Dublin Core 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/. Title A name given to the resource Underground Railroad Sculpture (Oberlin, Ohio) Creator An entity primarily responsible for making the resource Armstrong, Cameron, 1956- Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Fugitive slaves--United States Ohio--Oberlin Public art Public sculpture Underground Railroad Subject (Object Type) Commemorative sculpture Description An account of the resource The Underground Railroad Sculpture commemorates Oberlin's role in the Underground Railroad. Wooden railroad tracks with iron ties emerge from the ground, reaching skyward. Cameron Armstrong (then a senior at Oberlin College) created the sculpture in 1977 as part of a class art project. Contributor An entity responsible for making contributions to the resource The Oberlin Class of 1977 Rights Information about rights held in and over the resource Oberlin College, 38 E College Street, Oberlin, Ohio, 44074, United States Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Talcott Hall, 2 S Professor Street, Oberlin, Ohio, 44074, United States Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Date A point or period of time associated with an event in the lifecycle of the resource 1977 Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. "Underground Railroad Statue." Oberlin College. Accessed April 30, 2021. https://www.oberlin.edu/underground-railroad-sculpture. Source A related resource from which the described resource is derived Photographs by Geoffrey Jacobson Extent The size or duration of the resource. Unknown Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque with description of sculpture: This sculpture commemorates Oberlin's participation in the Underground Railroad, a secret network to aid the escape of fugitive slaves to freedom in Canada in the years before the Civil War. It was designed and installed in Spring, 1977, by Cameron Armstrong, class of '77. Funding was provided by the Class of 1977 as their gift to the College. Medium The material or physical carrier of the resource. Wood; Steel abstract iron wood https://slaverymonuments.org/files/original/3d33891fdf86e182b98edac3c74ef7e9.jpg 2830a2fd6f6ca42b6d187550ac35c8d6 https://slaverymonuments.org/files/original/cdbb9b1366b0b3294724a175c441ec88.jpg 650f532e72f5e07ce8a4258d4e07656b https://slaverymonuments.org/files/original/81c94d49692d800a7d7fa7054e9112ad.jpg d1387564998ba1a03b348900408d3d1e https://slaverymonuments.org/files/original/ef293c9c334d9dff0008e3591fa6a615.jpg 6a6053438643c2c01c65555384c55006 Dublin Core 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/. Title A name given to the resource United States Colored Troops (USCT) Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource Included in this thematic collection are seventeen memorials that honor the vital contributions of the United States Colored Troops (USCT) to the Union victory during the American Civil War. The first all-Black units formed unofficially in Louisiana (Louisiana Native Guard, 1862); South Carolina (First South Carolina Volunteer Infantry, 1862-63); and Kansas (First Kansas Colored Infantry, 1862-63). The first official authorization to employ African Americans in federal service was the Second Confiscation and Militia Act of July 17, 1862. The Confiscation Act allowed Union officers to free enslaved men and put them to work as army laborers. However, Abraham Lincoln did not fully authorize the use of Black men in combat until the issuance of the Emancipation Proclamation on January 1, 1863. Beginning in late January 1863, Governor John A. Andrews of Massachusetts raised the first regiment of Black soldiers in the North, the Massachusetts 54th Volunteer Infantry. The abolitionist Frederick Douglass helped recruit men for the Massachusetts 54th, famously issuing a call to free African American men to join the Union Army. In a speech, “Men of Color, To Arms!”, delivered in Rochester, New York on March 2, 1863, Douglass urged his fellow free men of color to fight for the end of slavery and for their freedom: "By every consideration which binds you to your enslaved fellow-countrymen, and the peace and welfare of your country; by every aspiration which you cherish for the freedom and equality of yourselves and your children; by all the ties of blood and identity which make us one with the brave black men now fighting our battles in Louisiana and in South Carolina, I urge you to fly to arms, and smite with death the power that would bury the government and your liberty in the same hopeless grave." On May 22, 1863, the U.S. War Department issued General Order No. 143, authorizing the creation of the Bureau of Colored Troops. By the end of the Civil War, over 200,000 men, including white officers, served in 175 regiments of the USCT, which made up ten percent of the Union army. The compiled military records of the men who served in the USCT can be found in the National Archives and Records Administration. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image 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. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Dublin Core 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/. Title A name given to the resource United States Colored Troops Memorial Statue (Lexington Park, Maryland) Subject The topic of the resource Subject (Topic) African Americans--History Maryland--Lexington Park Public art Public sculpture United States Colored Troops Subject (Object Type) Commemorative sculpture Description An account of the resource The life-size bronze sculpture of a United States Colored Troop soldier, rifle held over his shoulder as he strides forward. The figure stand on 6-foot granite pedestal, which features two bronze plaques bearing a dedicatory inscription, as well as the names of the 700 Black soldiers from St. Mary’s County who fought for the Union Army during the Civil War. The plaque takes special care to note the three men from St. Mary’s County who received a Medal of Honor during the war. Two of the men, Sgt. William Barnes and Sgt. James Harris were members of the 38th Colored Troops. The third Medal of Honor recipient, a White man, was U.S. Navy Quarter Master Joseph Hayden. Just in front of the statue, is a placard with didactic information that describes the important role of African Americans during the Civil War. Date A point or period of time associated with an event in the lifecycle of the resource June 16, 2012 Contributor An entity responsible for making contributions to the resource Idolia Shubrooks; Committee for Afro-American Contributions (UCAC); Sons of Union Veterans of the Civil War; Maryland General Assembly Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant John G. Lancaster Park, 21550 Willows Road, Lexington Park, Maryland, 20653, United States Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque on the front of the plinth: United States Colored Troops (USCT) This monument is dedicated in grateful tribute to the United States Colored Troops of St. Mary’s County. It honors medal of honor recipients, all Union Soldiers, and Sailors from Saint Mary’s County who served during the Civil War (1861-1865) Dedicated June 16, 2012 All honor and all glory to the emancipated slaves, freedmen, and all noble sons of St. Mary’s County who fought during the Civil War to save the Union and secure the heritage of human freedom. Includes list of names of the men who served from St. Mary's County. Information plaque at the memorial: African Americans have served in every war since the American Revolution. During the Civil War, more that 180,000 African Americans comprising 170 units served in the Union Army and 29,511 served in the Union Navy. Nearly 700 United States Colored Troops (USCT) from St. Mary’s County served in the war. The vast majority of Union soldiers from St. Mary’s County were of African descent. Muster rolls indicate USCT soldiers from the county enlisted not only in Maryland regiments, but in many regiments outside the state of Maryland and all across the country. At the outbreak of the Civil War in 1861, there were very few African Americans on the military rolls of the Union Army. The United States Navy continued to enlist Black seamen, but there was a quota and those who became regulars did menial labor. President Lincoln and his advisers believed that the regular Army and volunteers would be sufficient to win the war. Marylanders were divided over whether to remain loyal to the Union or support the Confederacy. White landowners in St. Mary’s County and other Southern Maryland counties aligned themselves with the Confederacy. Throughout the United States, African Americans were eager to enlist in the Union Army and saw southern Whites and their sympathizers as traitors who wanted to overthrow the government to perpetuate slavery. Prominent leaders including Frederic Douglass and Robert Smalls appealed to the federal government to change the military laws and allow African Americans to fight for their own freedom. The policy on enlisting African American soldiers changed as the war progressed. In July of 1862, Congress passed the Militia Act of 1862. It had become an “indispensable military necessity” to call on African American men to help save the Union. On September 27, 1862, the first regiment to become a USCT regiment was brought into the Union Army. After January 1, 1863, when the Emancipation Proclamation was issued, the War Department authorized the recruiting of African American soldiers. Recruitment efforts intensified and slave owners were offered monetary compensation for releasing enslaved men to enlist. By the end of 1863, General Ulysses S. Grant viewed the African American soldier as a “powerful ally.” President Lincoln made it clear to military authorities and citizens alike that African American soldiers were to be accorded the rights and privileges of bearing arms in support of the Union Army. Both freemen and slaves joined the fight. In spite of harsh conditions and inadequate supplies, these soldiers went on to participate in some of the most important and brutal battles of the war. African Americans proved themselves as reputable soldiers many times over, yet discrimination in pay and other areas remained widespread. The bravery, courage and skill demonstrated by these soldiers attested to their determination to prove themselves not just as soldiers but as individuals and as a race. When the liberated received the chance to become liberators, they fought hard and many lost their lives to uphold the virtues of freedom and equality. Text drawn from sources including curriculum developed for the Maryland Department of Education by Reginald Lewis Museum of Maryland African American History & Culture. On the Home Front Families of African American soldiers often suffered hardships as well. Women and children left behind frequently had to shoulder extra work loads and responsibilities and in some cases may have received harsh treatment from resentful slave holders. Letters from soldiers who faced danger on the battlefield were full of pride and faith in their cause and were treasured by their loved ones at home. (Photo of a Union soldier and his family, courtesy of The Library of Congress) “My dear girl, I hope again to see you. I must bid you farewell should I be killed. Remember, if I die, I die in a good cause. I wish we had a hundred thousand colored troops … We would put an end to this war.” From The Mind of the Negro as reflected in Letters Written during the Crisis: 1800-1860. Carter G. Woodson, ed. 1926. Men of Valor Sergeant James H. Harris (photo) The Civil War experiences of Maryland’s African American soldiers in general and, in particular, those from St. Mary’s County were plagued by discrimination and hardship. But, by the time the last bullets were fired and all the dust had settled, the exertions and accomplishments of these tried and proven men represented a critical step towards the greater goal of social equality for which they struggled and fought. (Brennan Davis) St. Mary’s County produced two USCT Civil War Congressional Medal of Honor recipients, Private (later Sergeant) William H. Barnes and Sergeant James H. Harris. Both were enlisted in the 38th United States Colored Infantry Regiment organized in Virginia. They were cited for their gallantry in the Battle of New Market Heights in Virginia, sometimes referred to as the Battle of Chaffin’s Farm. This battle was fought September 29-30 in 1864. Slavery was abolished in Maryland with the 1864 State Constitution. After the War Many former USCT soldiers had difficulty obtaining pensions and receiving recognition after the war. However, veterans in some parts of the country were able to become state and national political leaders and often played active roles in their local communities as well. In St. Mary’s County, veterans became teachers, ministers, and business owners. Galilee United Methodist Church in Oakville and St. Lukes United Methodist Church in Ridge were founded by veterans. Although Galilee Church no longer exists, the cemetery remains, and USCT soldiers are buried at the site. St. Luke’s continues as an active congregation. Today, many St. Mary’s County residents are proud descendants of those who served in the USCT. (Photos of St. Luke’s Methodist Church in Ridge and Galilee Cemetery in Oakville) A Granddaughter’s Mission Idolia Shubrooks worked for over 20 years to make the United States Colored Troops Memorial Monument a reality. It became her personal mission after finding her grandfather’s history with the USCT muster papers. She researched her grandfather’s history with the USCT and worked with the Unified Committee for Afro-American Contributions and Sons of Union Veterans of the Civil War to educate the community about this vital part of our forgotten local heritage. The completed project creates a legacy which serves to share and preserve our history for future generations. The vision for this monument grew out of the day that Idolia Shubrooks discovered her grandfather Alexander Armstrong’s USCT muster papers in a keepsake box. Medium The material or physical carrier of the resource. Bronze; Granite Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Jacqui Atkielski. "Monument Honoring St. Mary's Veterans Was a Labor of Love." Southern Maryland Newspapers Online. Accessed January 23, 2019. https://www.somdnews.com/bonus/memorial_day/monument-honoring-st-mary-s-veterans-was-a-labor-of/article_6099e2e1-0bdc-5095-9593-812d4e040f15.html. Alan Skerrett, Jr, ed. "Monuments to the United States Colored Troops (USCT) [African American Civil War Soldiers: The List." Jubilo! The Emancipation Century Blog, May 30, 2011. Accessed February 11, 2026. https://jubiloemancipationcentury.wordpress.com/2011/05/30/monuments-to-the-united-states-colored-troops-usct-the-list/. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Creator An entity primarily responsible for making the resource Casteel, Gary , 1946- Source A related resource from which the described resource is derived Photographs by Renée Ater, 2012 Rights Information about rights held in and over the resource St. Mary's County Maryland, 41770 Baldridge Street, Leonardtown, Maryland, 20650, United States bronze Civil War figurative granite names https://slaverymonuments.org/files/original/b22e80b6d990d15a15e756e2ddc19160.JPG 17ad5a3a41e8aaa30e5041b5319f1b27 https://slaverymonuments.org/files/original/73476e653e703c6172b45686eb68dcd8.JPG f5005b92a659f1d4b916efdb4d0c2a39 https://slaverymonuments.org/files/original/1d0776149861e8e92b56d81ad66140f9.JPG 83c43f171b4f23b7874f30ff1cd1a945 https://slaverymonuments.org/files/original/059eed7b5d4e9d26ae42c44356c6bff8.JPG fe3063224e1a5aa991efc1dc55abba15 https://slaverymonuments.org/files/original/2ef9f07b66ce6d92b070645700a9faa3.JPG e22be2b88ea9495ba0e9405857ed4ea4 https://slaverymonuments.org/files/original/6035294d1c8595df0dd744e6f920b5d4.JPG 6a4d86e6253a6b446b33206a8c4d9dd9 https://slaverymonuments.org/files/original/76e0de8bef2e574b8c427c7cac4be599.JPG 31b81c47f564e025ef8b04d23fca00fd Dublin Core 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/. Title A name given to the resource United States Colored Troops (USCT) Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource Included in this thematic collection are seventeen memorials that honor the vital contributions of the United States Colored Troops (USCT) to the Union victory during the American Civil War. The first all-Black units formed unofficially in Louisiana (Louisiana Native Guard, 1862); South Carolina (First South Carolina Volunteer Infantry, 1862-63); and Kansas (First Kansas Colored Infantry, 1862-63). The first official authorization to employ African Americans in federal service was the Second Confiscation and Militia Act of July 17, 1862. The Confiscation Act allowed Union officers to free enslaved men and put them to work as army laborers. However, Abraham Lincoln did not fully authorize the use of Black men in combat until the issuance of the Emancipation Proclamation on January 1, 1863. Beginning in late January 1863, Governor John A. Andrews of Massachusetts raised the first regiment of Black soldiers in the North, the Massachusetts 54th Volunteer Infantry. The abolitionist Frederick Douglass helped recruit men for the Massachusetts 54th, famously issuing a call to free African American men to join the Union Army. In a speech, “Men of Color, To Arms!”, delivered in Rochester, New York on March 2, 1863, Douglass urged his fellow free men of color to fight for the end of slavery and for their freedom: "By every consideration which binds you to your enslaved fellow-countrymen, and the peace and welfare of your country; by every aspiration which you cherish for the freedom and equality of yourselves and your children; by all the ties of blood and identity which make us one with the brave black men now fighting our battles in Louisiana and in South Carolina, I urge you to fly to arms, and smite with death the power that would bury the government and your liberty in the same hopeless grave." On May 22, 1863, the U.S. War Department issued General Order No. 143, authorizing the creation of the Bureau of Colored Troops. By the end of the Civil War, over 200,000 men, including white officers, served in 175 regiments of the USCT, which made up ten percent of the Union army. The compiled military records of the men who served in the USCT can be found in the National Archives and Records Administration. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image 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. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 108 in. (274.32 cm) Dublin Core 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/. Title A name given to the resource United States Colored Troops National Monument (Madison, Tennessee) Subject The topic of the resource Subject (Topic) African Americans--History Cemeteries--Tennessee Tennessee--Madison United States Colored Troops Subject (Object Type) Commemorative sculpture Description An account of the resource The life-sized bronze statue of a single Black soldier honors the contributions of the over 20,000 African American men from Tennessee who served in the Union Army. Standing among rows of white headstones, the soldier gazes solemnly into the distance. He wears Union military attire—complete with forage cap, collared coat, belt, trousers, and boots—and grips the barrel of his rifled musket, its butt resting on the ground beside his right foot. A cartridge box hangs at his right hip, its leather shoulder strap slung across his chest, the brass circular eagle plate prominently displayed in the center. A socket bayonet hangs from his belt, and a canteen, cup, and satchel are slung over his back. The statue rests on a square white stone pedestal, with a bronze plaque bearing an inscription. Creator An entity primarily responsible for making the resource Butler, Roy W. Date A point or period of time associated with an event in the lifecycle of the resource February 18, 2006 Contributor An entity responsible for making contributions to the resource African American Cultural Alliance of Nashville United; Association for Black Veterans; Creative Artists of Tennessee Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Nashville National Cemetery, 1420 Gallatin Pike South, Madison, Tennessee, 37115, United States Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque on base of statue: In Memory of the 20,133 Who Served As United States Colored Troops In the Union Army Dedicated 2003 Sculptor: Roy W. Butler Model: William C. Radcliffe Presented by: The African American Cultural Alliance United Association for Black Veterans Creative Artists of Tennessee Extent The size or duration of the resource. 108 in. (274.32 cm) Medium The material or physical carrier of the resource. Bronze; White granite Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Alan Skerrett, Jr, ed. "Monuments to the United States Colored Troops (USCT) [African American Civil War Soldiers: The List." Jubilo! The Emancipation Century Blog, May 30, 2011. Accessed February 11, 2026. https://jubiloemancipationcentury.wordpress.com/2011/05/30/monuments-to-the-united-states-colored-troops-usct-the-list/. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photographs by Renée Ater Rights Information about rights held in and over the resource National Cemetery Administration, U. S. Department of Veterans Affairs, 810 Vermont Avenue, NW, Washington, DC, United States bronze Civil War figurative granite https://slaverymonuments.org/files/original/ca02254eea2c06ef3b540659ac11d28b.jpg 981d596e6efc35057db716420d5e1d59 https://slaverymonuments.org/files/original/3db1d2bb4e5cf7722dd073dd5b8308c8.jpeg d26ca27f5f673e334bb0635cd6751e18 Dublin Core 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/. Title A name given to the resource Universities and Slavery Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments in this collection examine the intertwined histories of American universities and slavery. In his book, Ebony and Ivy: Race, Slavery, and the Troubled History of America’s Universities (2013), Craig Steven Wilder examines how universities and colleges were established and expanded because of the massive wealth they accrued from the transatlantic slave trade and slavery. Slave traders became the principal financiers of endowed faculty chairs and were appointed as university trustees, and colleges and universities made special efforts to recruit the sons of the slaveholding elite. Presidents of universities also held Black people in bondage, for example, Princeton’s first nine university presidents owned enslaved people. Universities and colleges such as the University of Virginia have recognized how enslaved people labored on their campuses, waiting on faculty and students and tending to their grounds. Just as importantly, the classes at many universities upheld the logic of racism foundational to American slavery. As researchers at Rutgers found, “The faculty and curriculum at Rutgers and other early American colleges reinforced the theological and scientific racism that provided the ideological and spiritual justification for the free labor of Africans, the absolute power of slave owners, and the separation of the races.” Often responding to pressure from students and activists, universities and colleges across the United States have begun to think more critically about how to address the complex, untold, and painful history of slavery and its ongoing legacy on their campuses. The memorials in this collection, such as the University of Virginia’s <a href="https://www.slaverymonuments.org/items/show/1127" target="_blank" rel="noopener" title="https://www.slaverymonuments.org/items/show/1127">Memorial to Enslaved Laborers</a> are intended as spaces for learning, healing, and reconciliation. In addition to building monuments, universities are also attempting to redress and repair their relationship with communities most affected by slavery. William and Mary’s Lemon Project, for example, focuses on “contributing to and encouraging scholarship on the 300-year relationship between African Americans and William and Mary, and building bridges between the university and Williamsburg and Greater Tidewater area.” Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image 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. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Dublin Core 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/. Title A name given to the resource Unsung Founders Memorial (Chapel Hill, North Carolina) Subject The topic of the resource Subject (Topic) Enslaved persons Public art Public sculpture North Carolina--Chapel Hill Slavery--North Carolina University of North Carolina at Chapel Hill Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial includes a stone tabletop supported by 300 bronze male and female African American figures, their arms raised over their heads as they collectively hold the weight of the tabletop. The differing dress of the figures-- some are shown in suits, while others are semi-nude and bare foot-- appear to represent a range of economic classes. The table is surrounded by five black stone seats. Creator An entity primarily responsible for making the resource Suh, Do-Ho, 1962- Date A point or period of time associated with an event in the lifecycle of the resource November 5, 2005 Contributor An entity responsible for making contributions to the resource University of North Carolina Graduating Class of 2002 Rights Information about rights held in and over the resource University of North Carolina at Chapel Hill, Chapel Hill, North Carolina, 27599, United States Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant McCorkle Place, University of North Carolina, Chapel Hill, North Carolina, 27514, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription around the edge of the table: THE CLASS OF 2002 HONORS THE UNIVERSITY’S UNSUNG FOUNDERS — THE PEOPLE OF COLOR BOND AND FREE — WHO HELPED BUILD THE CAROLINA THAT WE CHERISH TODAY Medium The material or physical carrier of the resource. Black granite; Bronze Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photographs by Renée Ater Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Ater, Renée. “The Challenge of Memorializing Slavery in North Carolina: The Unsung Founders Memorial and the North Carolina Freedom Monument Project.” In Politics of Memory: Making Slavery Visible in the Public Space, edited by Ana Lucia Araujo, 141–156. Routledge, 2012. McMillan, Timothy J. "Remembering Forgetting: A Monument to Erasure at the University of North Carolina." In Silence, Screen and Spectacle: Rethinking Social Memory in the Age of Information, eds. Lindsey A. Freeman, Benjamin Nienass, and Rachel Daniell, 137-162. Berhahn Books, 2014. Wilder, Craig Steven. Ebony and Ivy: Race, Slavery, and the Troubled History of America's Universities. Bloomsbury Publishing, 2014. University of Virginia. "Universities Studying Slavery." President's Commission on Slavery and the University. https://slavery.virginia.edu/universities-studying-slavery/. black granite bronze figurative https://slaverymonuments.org/files/original/c2fa4d797a4d66d2d45ef6d79c49e7a4.jpg ae044eab3c1afddb8c40829db5030492 https://slaverymonuments.org/files/original/a84445f64fd22c24ed60ce61fa19e3ce.jpg 12437b7e8d77d3cb916d424b7e93216b https://slaverymonuments.org/files/original/22d388a38dbdcd29f8a70b15d4fad077.jpg 74af0ab95d654f5425424737cfe7af29 https://slaverymonuments.org/files/original/1e43bea9ae179b176a7c10dde537e3fc.jpg 6860045b0619bfc9868553411485fc96 https://slaverymonuments.org/files/original/477c445aa88fd2b40266cf3d5ed5f735.jpg 92b0e75bb3f7e6743b10967129e9c368 https://slaverymonuments.org/files/original/07303a2fe3a478173cf9ff65ae552e93.jpg 35708db07ef3fa5d03c5dc41b3b01673 https://slaverymonuments.org/files/original/42b09cf14662a0fe54bfd183b08ed1b3.jpg 12ef5f6c2aefda60b5d94a6feb796836 https://slaverymonuments.org/files/original/c298a538474223e6d9c1e2cb17b95aff.jpg 0bf23d91be93ee40102c807cc347fa26 https://slaverymonuments.org/files/original/0cef8f74c23d7e84be7806f2b9463c04.jpg 88386d88c3f70cb8f1f158c6f65baa9b https://slaverymonuments.org/files/original/1a545be3636da3b23209a043d566d728.jpg 3f1b8dd7217510193cbc3781fecb1692 https://slaverymonuments.org/files/original/970f7088562b06b5adf0592290a254ab.jpg 9915e3cce9d72a58811a21563df8fe6d https://slaverymonuments.org/files/original/27fe705027328b7120ec1f6fb2724abf.jpg 3c2d115424fdda446f1358a4276c5f63 https://slaverymonuments.org/files/original/26a5702147d065fc60463e712abfe788.jpg 85de5aba34be048038d0ad7443ca8903 https://slaverymonuments.org/files/original/902fbaa67ff332362f77bff804323605.jpg 5e6d6ac9276fffedc9724f4e5b6b680c https://slaverymonuments.org/files/original/a7e7230d4a8d0519469361bdcbd8b1a6.jpg 897d8f8bc789a0c43b3c3eedde751d4c Dublin Core 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/. Title A name given to the resource Black Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 Still Image 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. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 100 in. (274.32 cm) Dublin Core 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/. Title A name given to the resource Unwavering Courage in the Pursuit of Freedom (Wilmington, Delaware) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Delaware--Wilmington Freedom Fugitive slaves Public art Public sculpture Underground Railroad Subject (Name) Tubman, Harriet, 1822-1913 Garrett, Thomas, 1789-1871 Subject (Object Type) Commemorative sculpture Description An account of the resource A multi-figure sculpture of Harriet Tubman and Thomas Garrett leads two fugitive enslaved persons, a semi-nude man and a fully clothed woman, along the Underground Railroad in Wilmington, Delaware. Tubman carries a baby in her arms and wears a head wrap, shawl, haversack, and carries a pistol at her waist. Garrett wears a suit, cape and top hat, and holds a lantern. The sculpture includes three pairs of boots, a crate, and a barrel. Signed by the artist: M. Chiodo, 2012. Creator An entity primarily responsible for making the resource Chiodo, Mario, 1961- Source A related resource from which the described resource is derived Photographs by Renée Ater Date A point or period of time associated with an event in the lifecycle of the resource October 3, 2012 Contributor An entity responsible for making contributions to the resource Oasis Design Group (Kimley-Horn); The City of Wilmington’s Percent for Art Fund; Riverfront Development Corporation of Delaware; and Riverfront Wilmington Sculpture Selection Committee Rights Information about rights held in and over the resource The City of Wilmington Department of Parks and Recreation, 500 Wilmington Avenue, Wilmington, Delaware, 19801, United States Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Tubman-Garrett Riverfront Park, 815 Justison Street, Wilmington, Delaware, 19801, United States Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque: Unwavering Courage in the Pursuit of Freedom, Dedicated October 3, 2012, Honorable James M. Baker, Mayor, Artist: Mario Chiodo. Inscripton on Tubman biographical bronze plaque: Harriet Tubman (born Araminta Harriet Ross; 1820 – March 10, 1913). ‘I had reasoned this out in my mind, there was one of two things I had a right to, liberty or death; if I could not have one, I would have the other.’ Born on Maryland’s eastern shore, Harriet Tubman’s family of eleven suffered the indignities of violence and division common to the institution of slavery. Harriet escaped from slavery following the death of her owner in 1849. Over the course of 10 years, with the help of Thomas Garrett and other abolitionists, she led hundreds of slaves along the Underground Railroad through Wilmington to freedom in New York, New England, and Canada, earning the title of the ‘Moses of her people’. During the Civil War, she was a cook and a nurse and became a spy and armed scout for the federal forces, helping to liberate more than 700 slaves in South Carolina. Tubman died in 1913 at her home in Auburn, NY. Inscripton on Garrett biographical bronze plaque: Thomas Garrett (b. August 21, 1789 – d. January 24, 1871). ‘No labor during a long life has give me so much real happiness as what I have done for the slave.’ Thomas Garrett has been called Delaware’s greatest humanitarian and is credited with helping more than 2,700 slaves escape to freedom in a forty-year long career as a station master of the Underground Railroad. His abolitionist activities, along with the Quaker congregation from the Friends Meeting House in Wilmington, helped to make Wilmington an important gateway on the freedom trail. Garrett helped Harriet Tubman on her many journeys, giving her food, clothing, shelter, and money. He was convicted of violating the federal Fugitive Slave Law in 1848 and heavily fined and forced into bankruptcy. Garrett devoted his life to the abolitionist cause, openly defying slave hunters, as well as the slave system. Extent The size or duration of the resource. 100 in. (274.32 cm) Medium The material or physical carrier of the resource. Bronze; Granite Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Chiodo, Mario. “Unwavering Courage in the Pursuit of Freedom.” Freedom March of Art. Accessed March 18, 2018. www.freedommarchofart.com/tubman.html. Ater, Renée. "Monument and Heritage Tourism: Memorializing Harriet Tubman and Thomas Garrett on the Underground Railroad in Delaware." In Ending Slavery: The Antislavery Struggle in Perspective, eds. Lawrence Ajé and Claudine Raynaud, 265-286. Presses universitaires de la Méditerranée, 2022. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Relation A related resource <a href="https://www.youtube.com/watch?v=Q9jP20hvR-M" target="_blank" rel="noreferrer noopener"></a> References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Monument and Myth: Commemorating Harriet Tubman and the Underground Railroad bronze figurative lantern pistol portrait https://slaverymonuments.org/files/original/de490d0601670c9e46b6e5400b574e4e.jpg b6934120b65320c0c591993140c2167d https://slaverymonuments.org/files/original/ca89b78694aaa40ad5076ed62a2f704e.jpg 534cc5396b6e93a55eac71cc058061f4 https://slaverymonuments.org/files/original/26cc105594d7a6106b57fdd99411fd10.jpg 35e566d370aaf18e2c8a6c8b2afa22fe https://slaverymonuments.org/files/original/61f00ec319c43d0a9a9305e8030ef2ed.jpg c8dd15c6967050bdba7ac4ff1fcebded https://slaverymonuments.org/files/original/260c4dde25f35847c172e98042f87a48.jpg 6bf68d75cb15ce0e7b4b4ad373e25d4d https://slaverymonuments.org/files/original/4f20e2a715f0a1e4cc31cf4e541d0098.jpg 6e53bccf7af6ddbddda0a623d48280a9 https://slaverymonuments.org/files/original/c21e316bcd1d8f646b811e0bf1dd3711.jpg 2533509742958c9168e897b924dce4d2 https://slaverymonuments.org/files/original/63fe476048151f1e4c5a7cdf546f21c1.jpg 9f010f7422945c21b1707f526e4c4468 https://slaverymonuments.org/files/original/0704bb54a6e7b3fc21e81301a1858a6b.jpg a0c01817a3e6969929386e15802671eb Dublin Core 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/. Title A name given to the resource Burial Grounds Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection is just a fraction of the burial grounds dedicated to enslaved persons, "contrabands," and freed persons. Many of these cemeteries and memorial parks have suffered greatly over the years--some have been desecrated and destroyed while others have been long ignored and fallen into disrepair. The monuments and memorials in this collection are part of local efforts to restore and recognize the importance of black life in death, including the <a href="https://www.slaverymonuments.org/items/show/1130" target="_blank" rel="noopener">Freedman's Cemetery Memorial</a> in Dallas, Texas; <a href="https://www.slaverymonuments.org/items/show/1136" target="_blank" rel="noopener">African Burial Ground National Memorial </a>in New York City; <a href="https://www.slaverymonuments.org/items/show/1128" target="_blank" rel="noopener">African Burying Ground Memorial</a> in Portsmouth, New Hampshire; and <a href="https://www.slaverymonuments.org/items/show/2" target="_blank" rel="noopener">Contrabands and Freedmen Cemetery Memorial</a> in Alexandria, Virginia. As of 2026, the Black Cemetery Network (blackcemeterynetwork.org) has documented 201 Black cemeteries in New England, the Middle Atlantic, the South, and the Midwest. Some of these cemeteries are dedicated to enslaved persons such as the Enslaved Cemetery in Mahwah, New Jersey; Betton Hills Plantation Cemetery in Tallahassee, Florida; and the Enslaved Burial Ground in Old Round Rock Cemetery in Round Rock, Texas. In 2022, the African American Burial Grounds Preservation Program authorized the National Park Service to administer an annual grant program to assist in the preservation of historic Black burial grounds. See Congress.gov. "Text - H.R.6805 - 117th Congress (2021-2022): African-American Burial Grounds Preservation Act." April 28, 2022. https://www.congress.gov/bill/117th-congress/house-bill/6805/text. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image 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. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Dublin Core 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/. Title A name given to the resource We Stand in Honor of Those Forgotten: African Burying Ground Memorial (Portsmouth, New Hampshire) Subject The topic of the resource Subject (Topic) African Americans--History African American cemeteries New Hampshire--Portsmouth Public art Public sculpture Slavery--New Hampshire Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial is composed of a number of distinct elements. A rectangular granite stele on State Street marks the memorial’s entrance. On one side, below the engraved text that reads “African Burying Ground Memorial,” a life-size bronze figure of a man stands with his back against the stone stele. His left-hand reaches out and back, towards the other side of the stele. On the opposite side, a life-size bronze figure of a woman mirrors the gesture of her male counterpart. The sculptor, Jerome Meadows, leaves a gap between the outstretched hands of the two figures. On the opposite end of the memorial, a group of eight life-size vertical bronze and concrete silhouettes, each inscribed with a line from a poem written by Meadows, stand in a semicircle around the burial vault. The figural group is surrounded by a metal railing, embellished with ceramic tiles. The design of the 110 ceramic tiles is inspired by Kinte cloth patterns and based on the original drawings created in a workshop Meadows facilitated with students from a local middle school. The burial vault contains the re-interred remains of the thirteen individuals found on the site in 2003. The vault is marked with a Sankofa, a West African Adinkra symbol that means “Return and Get It — Learn from the Past.” The sculptural groups are connected by the “Petition Line,” a ribbon of pinks stone, which contrasts with the gray stone walkway of the memorial. The Petition Line contains excerpts from a formal document submitted to the New Hampshire legislature in 1779 by twenty enslaved individuals petitioning for their freedom. To the right is an information marker that provides visitors with the historical context for the memorial, as well as the poem by Meadows - I Stand For Those Forgotten. Creator An entity primarily responsible for making the resource Meadows, Jerome, 1951- Date A point or period of time associated with an event in the lifecycle of the resource May 23, 2015 Contributor An entity responsible for making contributions to the resource Portsmouth City Council; African Burying Ground Committee; Roberta Woodburn, Woodburn & Company Landscape Architecture; community members; Portsmouth school children; and various non-profit partners including the Portsmouth Black Heritage Trail, Inc., the Seacoast African American Cultural Center, the Portsmouth Historical Society, and Art-Speak. Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Portsmouth African Burying Ground, 97 Chestnut Street (between Court and State Streets), Portsmouth, New Hampshire, 03801, United States Has Part A related resource that is included either physically or logically in the described resource. First bronze plaque on Information Marker: I stand for the Ancestors Here and Beyond I stand for those who feel anger I stand for those who were treated unjustly I stand for those who were taken from their loved ones I stand for those who suffered the middle passage I stand for those who survived upon these shores I stand for those who pay homage to this ground I stand for those who find dignity in these bones --Jerome Meadows, artist and sculptor The Entry Figures--The male figure stands for the first enslaved Africans brought to Portsmouth and those who followed. The female figure represents Mother Africa, endlessly straining past the obstacles that keep her from her children of the Diaspora. Together, as each figure reaches around the edge of the granite slab towards the other, they physically embody the separation and uncertainty of those brought here as captives as well as their perserverance. The gap between their fingertips is a reminder of their forced separation and of the divisions of past injustices. The Petition Line--In 1779, twenty men who had been forcibly brought from West Africa when they were children and were purchased by prominent local families, petitioned the New Hampshire legislature for their freedom and for the end of slavery in the state. Quoting phrases from this “Petition for Freedom,” the petition line is a visual and historical thread linking the elements of the monument and putting eloquent voice to those so long forgotten and ignored. Extending from the entry figures through a space of contemplation, the line disappears into the burial vault beneath the plaza. The West African symbol adorning this line is “Nsoromma” that means “Child of the Heavens” and is an icon of guardian ship. Burial Vault Lid--The Adinkra figure “Sankofa” meaning “Return And Get It--Learn From The Past” forms a shield and cover for the burial vault containing the reinterred remains of those exhumed in 2003 and additional partial remains found at the site during preparations for the memorial. Community Figures--These life-sized bronze sihouettes represent the collective community of greater Portsmouth, gather with resolve to acknowledge, protect, and pay homage to the souls whose remains were uncovered in 2003. Each figure bears a line from the poem by the memorial designer and sculptor Jerome Meadows, inspired by this sacred place. Decorative Railing--The design is based on an African Kente cloth motif suggestive of boat paddles. The ceramic tiles embedded in the railing were created by students from Portsmouth Public Schools. By forming the tiles, these school children link hands with past children who worked here and future generations who will stop, remember, and stand for those forgotten. Second bronze plaque on Information Marker: We Stand In Honor Of Those Forgotten This Memorial was created by the people of Portsmouth. Those buried here are not part of black history or white history. This is our collective history. The symbol chosen to represent the solemn intent of the African Burying Ground Memorial and its close historical connection to West Africa is the distinctive Sankofa symbol from the Akan people of Ghana. For those Africans forcibly removed from their homeland to be enslaved in America, and for those of us reflecting on that history now, we take the Sankofa and its timeless meaning to heart: “Return And Get It--Learn From The Past.” The first known enslaved African, a man from Guinea, arrived in Portsmouth in 1645. He was among hundreds of African captives to live in slavery in New Hampshire. Throughout the Colonial Era, New Hampshire's affluent port had the largest number of slaves in the colony, up to 4 percent of the population recorded in the census of 1767. By 1810, few if any people of African ancestry were still enslaved in Portsmouth. Although early town records and other public documents made references to the “Negro Burying Yard,” the memory of the African Burying Ground and its occupants--which may number over 200--faded as the decades passed. The burying ground was built over and nearly forgotten--until October 7, 2003 when a work crew unexpectedly exposed deteriorating wooden coffins containing human remains. Forensic archaeology and DNA analysis confirmed the individuals exhumed as African. Portsmouth began a community discussion about this historic and sensitive site and determined that space should be restored to sacred ground. The process to create a memorial and to re-inter the disturbed remains began. In the spring of 2015, the remains were re-interred in the burial vault that is the focal point of this Memorial. The Portsmouth African Burying Ground Memorial stands for those who were fogotten. The burial site acknowledges their humanity, and ours. With design elements chosen in a series of community dialogues about the past, present, and future, this Memorial provides an opportunity to look back and reflect on the history shared with those buried here, in a space whose extent is not fully defined. Although their identities are not known, their presence beneath our feet urges us to recognize them--and others forgotten--as individuals with stories that come alive as we look back and remember. Medium The material or physical carrier of the resource. Bronze; Concrete; Stone Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. “Memorial Park Design.” Portsmouth African Burying Ground. Accessed May 6, 2019. http://www.africanburyinggroundnh.org/mpd.html. “Portsmouth African Burying Ground Memorial Park.” Department of Public Works, City of Portsmouth. Accessed May 6, 2019. https://www.cityofportsmouth.com/publicworks/portsmouth-african-burying-ground-memorial-park. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photographs by Renée Ater Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Portsmouth African Burying Ground Extent The size or duration of the resource. 91.2 in. (231.65 cm) Rights Information about rights held in and over the resource City of Portsmouth, 1 Junkins Avenue, Portsmouth, New Hampshire, 03801, United States Adinkra symbols archaeology bronze figurative granite inscription https://slaverymonuments.org/files/original/ab0b45d719441db1ceefdcaad737dbd7.jpg 3afb8822f98079b1ddd7eb0c14c3083d Dublin Core 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/. Title A name given to the resource United States Colored Troops (USCT) Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource Included in this thematic collection are seventeen memorials that honor the vital contributions of the United States Colored Troops (USCT) to the Union victory during the American Civil War. The first all-Black units formed unofficially in Louisiana (Louisiana Native Guard, 1862); South Carolina (First South Carolina Volunteer Infantry, 1862-63); and Kansas (First Kansas Colored Infantry, 1862-63). The first official authorization to employ African Americans in federal service was the Second Confiscation and Militia Act of July 17, 1862. The Confiscation Act allowed Union officers to free enslaved men and put them to work as army laborers. However, Abraham Lincoln did not fully authorize the use of Black men in combat until the issuance of the Emancipation Proclamation on January 1, 1863. Beginning in late January 1863, Governor John A. Andrews of Massachusetts raised the first regiment of Black soldiers in the North, the Massachusetts 54th Volunteer Infantry. The abolitionist Frederick Douglass helped recruit men for the Massachusetts 54th, famously issuing a call to free African American men to join the Union Army. In a speech, “Men of Color, To Arms!”, delivered in Rochester, New York on March 2, 1863, Douglass urged his fellow free men of color to fight for the end of slavery and for their freedom: "By every consideration which binds you to your enslaved fellow-countrymen, and the peace and welfare of your country; by every aspiration which you cherish for the freedom and equality of yourselves and your children; by all the ties of blood and identity which make us one with the brave black men now fighting our battles in Louisiana and in South Carolina, I urge you to fly to arms, and smite with death the power that would bury the government and your liberty in the same hopeless grave." On May 22, 1863, the U.S. War Department issued General Order No. 143, authorizing the creation of the Bureau of Colored Troops. By the end of the Civil War, over 200,000 men, including white officers, served in 175 regiments of the USCT, which made up ten percent of the Union army. The compiled military records of the men who served in the USCT can be found in the National Archives and Records Administration. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image 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. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Dublin Core 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/. Title A name given to the resource West Point Monument (Norfolk, Virginia) Subject The topic of the resource Subject (Topic) African Americans--History Cemeteries--Virginia United States Colored Troops Virginia--Norfolk Subject (Name) Carney, William Harvey, 1840-1908 Subject (Object Type) Commemorative sculpture Description An account of the resource Atop a large square column of limestone, the figure of the Norfolk native Sergeant William H. Carney of the Massachusetts 54th Volunteer Infantry Regiment is depicted, dressed in his military uniform. Carney is the first African American to receive the Medal of Honor for his courageous actions at the Battle of Fort Wagner in South Carolina. The base of the monument, built as a tribute to African American veterans of the Civil War and Spanish American War, contains a number of bronze and marble plaques. The concrete and granite base were installed in 1906; the statue of Sgt. William H. Carney Jr. was installed and dedicated in 1920. Date A point or period of time associated with an event in the lifecycle of the resource 1920 Contributor An entity responsible for making contributions to the resource Norfolk Memorial Assocation; James E. Fuller Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Elmwod Cemetery, 238 E. Princess Anne Road, Norfolk, Virginia, 23510, United States Has Part A related resource that is included either physically or logically in the described resource. The top bronze plaque on north face of the monument: A shield with a relief of a Maltese Cross placed over crossed rifles and an eagle with outstretched wings with the dates 1861 - 1865 and 1920. The bottom square bronze plaque on north face of the monument: Erected by the Norfolk Memorial Association to the Memory of our Heroes 1861-1865 Left marble plaques on the east face: Langston Camp No. 1 -- United Spanish War Vets Middle marble plaque on east face: The Whole of Section No. 20 Donated to the Union Veterans Hall Association by a resolution proposed by Comrade James E. Fuller; adopted by the Common Council March 3rd 1886, and by the Select Council April 13th 1886. This monument Alter[sic} Laid for dedication May 30th 1906 by the Norfolk Memorial Association to receive the shalt already pledged by the citizens in honor of all the colored soldiers and sailors buried in West Point Cemetery and Berkley from 1860 to the last veteran to be buried in these Cemeteries, as amended and approved by contributors March 2nd 1906. Founders of Norfolk Memorial Asso. Jas E. Fuller, 1st President Mrs. R. Langley, 1st Vice President Mrs. L. J. Lynch, 1st Secretary James P. Carter, President Abel C. Carter, Secretary Magnes Riggins Treasurer James E. Fuller, Custodian Right marble plaque on east face: National Camp No. 2 - United Spanish War Vets Marble plaque on north face: Shaw Post No. 5 - G.A.R.- Shaw Woman Relief Corps No. 3 Left marble plaque on west face: John C. Fow - Post No. 67 - G.A.R. Middle marble plaque on west face: Caillioux Post No. 2 - G. A. R. - Cailloux Woman Relief Corps No. 1 Right marble plaque on west face: Ladies Aux. No. 4 - U.S.W.V. Marble plaque on south face: Dahlgren Post No 4. - G.A.R. - Dahlgren Woman Relief Corps No. 12 Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Leib, Jonathan. "A Tale of Two Civil War Statues: Teaching the Geographies of Memory and Heritage in Norfolk, Virginia." Southeastern Geographer 52, no. 4 (Winter 2012): 398-412. Alan Skerrett, Jr, ed. "Monuments to the United States Colored Troops (USCT) [African American Civil War Soldiers: The List." Jubilo! The Emancipation Century Blog, May 30, 2011. Accessed February 11, 2026. https://jubiloemancipationcentury.wordpress.com/2011/05/30/monuments-to-the-united-states-colored-troops-usct-the-list/. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Limestone; Granite; Concrete Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Norfolk African-American Civil War Memorial Source A related resource from which the described resource is derived Photograph: <a href="https://smarthistory.org/the-lost-cause-and-confederate-memory/" target="_blank" rel="noopener">Smarthistory</a> Rights Information about rights held in and over the resource Virginia Department of Historic Resources, 2801 Kensington Avenue, Richmond, Virginia, 23221, United States bronze Civil War columns figurative inscription https://slaverymonuments.org/files/original/cc8fbadf957bec5b2d5a1f80e0d32483.jpg f2ffac0ed5c853c7b8d0cae0d556e09b https://slaverymonuments.org/files/original/edb4a2c0ac380aaa228d125a54471fc8.jpg a8ce6a9d77593cd5d2d32e9354aeb5d2 https://slaverymonuments.org/files/original/712dab0d16f9a295dd58dd9d963008e8.jpg 3263fa6197a322dbe218ed2f43d34f74 Dublin Core 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/. Title A name given to the resource Black Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 Still Image 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. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image Unknown Dublin Core 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/. Title A name given to the resource William Seward and Harriet Tubman Statue (Schenectady, New York) Creator An entity primarily responsible for making the resource Benedict, Dexter, 1944- Subject The topic of the resource Subject (Topic) Antislavery movements--United States New York--Schenectady Public art Public sculpture Underground Railroad Subject (Name) Tubman, Harriet, 1822-1913 Seward, William Henry, 1801-1872 Subject (Object Type) Commemorative sculpture Date A point or period of time associated with an event in the lifecycle of the resource May 17, 2019 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Karen B. Johnson Schenectady County Public Library, 99 Clinton Street, Schenectady, New York, 12305, United States Description An account of the resource Placed outside the Schenectady County Public Library, a life-size statue of William Seward and Harriet Tubman stand on Mohawk Valley ordovician dolostone inside a garden bed. Seward stands with a cane in his right hand and his left arm around the back of Tubman. He wears nineteenth-century clothing including a jacket, vest, and pants. Tubman gestures with her right hand and carries a walking stick in her left hand. She wears a simple long dress. Draped across her chest is a sack with the end of a revolver visible. Source A related resource from which the described resource is derived Photographs by Renée Ater Contributor An entity responsible for making contributions to the resource Board of Trustees of the Schenectady County Public Library; and Community Members: Virginia and Frank Wicks; Carl George; Anita Paul and David Gerhan; Jim and Jean Underwood; Linda Patrik and David Kaczynski; Twitty and Constance Styles; Cara Molyneaux; Arnold Seiken; Roger Hull; Brian and Judith Merriam; Robert Ringlee; Miriam Butzel; Butzel Family Foundation; Norman Maender; David and Jean Cossey; Carmela St George; Barbara Armstrong and Robert Coppola; Rhonda Becker; Anastasia Pease; Eshragh Motahar; Paul and Christina Friedman; Katherine Lynes; Roger and Seneca Hoerl; Karen and Rodney Crosby; David and Ann Songayllo Hannay; Cherrice Traver; Jonathan and Rachel Marr; Marsha and Leonard Mortimore; James and Jean McLaughlin; Andrea Worthington and Robert Olberg; Kesheng Yu; Paul Wehrum; Barry Kramer; Rebecca Koopman; Assemblyman Angelo Santabarbara; Ted Vinick; Becky Cortez; Martha Huggins and Malcolm Willison; Faith and Dexter Benedict; Mary and Phillip Lyford; Clifford Brown; Caroline Bardwell; Margaret Craven Snowden, M.D.; Nancy Papish; Julie Pieper-Hemmings; Senator James Tedisco; Charles and Linda Becker; Charles and Marianne Szuberla; Patricia and Keith Barneyl; Wayne and Amy Brule; Jim and Cei Mack; Martin and Sharon Strosberg; Mary O’Keeffe; Margo and James Strosberg, M.D.; Peter and Judy Nocera; Mary and Thomas Werner; Michele and Randall Collins; Donald O. Reid; Darren and Lisa Tracy; West Branch Engineering and Consulting; Philip and Jo Ann Adams; Kenneth Baker; Marcia M. Steiner; Nicholas C. Barber; Carmel Patrick; Alden and Gay Doolittle; Betty Pieper; Robert McEvoy; Joe Spedafora; Linda Patrik and David Kaczynski; Matthew George; Brian Reh; Anita Paul; Susan and Gustave Davis, M.D.; Lek and James Meyer; Laura Lee; First Reformed Church of Schenectady; Wicks Family; Jim and Carol McCord; Capital District Civil War Round Table; Jonathan R. Miller (in memory of Aaron Rees ’95); Kathleen Pierone; Ann M. Cole; Professional Women; Schenectady County Historical Society; Hugh and Vaughn Nevin; John Polimeni; John and Lucy Halstead; Kim and Gary Mabee; Naomi Bristol; Lois and Richardson Atkinson; Brendan Degan Weingarten Savage; Henry M. Butzel Family Foundation; Lidia Pasamanick; The Honorable Richard and Bernice Russo; Touhey Family Foundation; John and Margaret Watraus; Susan Savage; Daniel and Shari Grygas; David Gerhan and Anita Paul; Deborah LaFond; Betty Carol Barlyn; Willie Terry; Mario Salerno; Philip Hilferty; Lewis and Irene Greenstein; Kim Scheverman; Arnold and Ione Seiken; David and Karen Bradley; David Kaczynski and Linda Patrik; The Brockbank Family; Estate of Marjorie Kenney (in Memory of Alice P Kenney); William Keat; Eric Bersch; Liz Paul and Paul John; Rene and William Curtin; Steve Rockwell; Jean Libby; The Reverend Ruby J. Smith; Dr Nancy D. Fitzroy; Janis Polishook; L. William Davis; Dr Walter and Anne Robb; Bradley and Catherine Lewis; Christopher Gardner; Kathleen LoGiudice and John Blanchard; Christopher Leonard; Philip M. Williamson; Jean Hayden Hutchins (in Memory of Dr Charles Steinmetz); Eric and Kent Johnson (in Memory of Mayor Karen Johnson); and The Wicks Family (in Memory of Dr Rollo and Hazel Wicks).<o:p></o:p> Rights Information about rights held in and over the resource Unknown Type The nature or genre of the resource Visual Arts-Sculpture Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque: William Seward 1801-1872 Harriet Tubman 1822-1913 Leaders Freedom Diversity Friendship "By the People for the People" Abraham Lincoln Mohawk Valley Ordovician Dolostone 2019 Sculptor/Caster Dexter Benedict References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Monument and Myth: Commemorating Harriet Tubman and the Underground Railroad Medium The material or physical carrier of the resource. Bronze; Mohawk Valley ordovician dolostone Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Williams, Stephen. "Statue of Tubman and Seward Unveiled at Library." The Daily Gazette News, May 17, 2019. Accessed September 30, 2019. https://dailygazette.com/article/2019/05/17/statue-of-tubman-and-seward-unveiled-at-library. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater bronze figurative portrait https://slaverymonuments.org/files/original/e10c796c801262bb4184360a77e032c6.jpg d1ff6caa212e2148ae341c9737a76c87 https://slaverymonuments.org/files/original/707b09bba790b0f2f0e41ad180b18211.jpg d9729b049e5387f67b2fd40d79a2fe83 https://slaverymonuments.org/files/original/044c3b6cc65200d16f2956be7b2f6fba.jpg 06be1b452889f2a601b7803941685e69 https://slaverymonuments.org/files/original/4d38ed4e88c2f879841f19ca6b6758ca.jpg 663b650953797666e78cee7bcbea795f Dublin Core 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/. Title A name given to the resource Black Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 Still Image 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. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 68.4 in. (173.736 cm) Dublin Core 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/. Title A name given to the resource Harriet Tubman (first cast) (Mesa, Arizona) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Arizona--Mesa Freedom Public art Public sculpture Underground Railroad Subject (Name) Tubman, Harriet, 1822-1913 Subject (Object Type) Commemorative sculpture Description An account of the resource The monument depicts Harriet Tubman leading a young African American boy by her left hand and holding a long walking stick in her right. She wears a brimmed hat, a long-sleeve shirt with a shawl wrapped around her neck, and a flowing skirt. As they walk, Tubman peers kindly at the boy, who gazes back at her. The boy wears a vest, long-sleeved shirt, trousers, and laced shoes. Both figures are shown in mid-stride. Creator An entity primarily responsible for making the resource DeDecker, Jane, 1961- Source A related resource from which the described resource is derived Photographs: <a href="https://www.waymarking.com/waymarks/WMNZ71_Harriet_Tubman_Mesa_Arizona" target="_blank" rel="noopener">Waymaking</a> Date A point or period of time associated with an event in the lifecycle of the resource 1995 Rights Information about rights held in and over the resource Las Sendas Community Association, 7900 East Eagle Crest Drive, Mesa, Arizona, 85207, United States Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Harriet Tubman Children’s Parke, Las Sendas, E. Saddleback and Eagle Crest Drive, Mesa, Arizona, 85207, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on back: "Children if you are tired, keep going. If you're hungry, keep going. If you're scared, keep going. If you want a taste of freedom, keep going." Harriet Tubman Extent The size or duration of the resource. 68.4 in. (173.736 cm) Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Las Sendas Is Home. “Las Sendas Park Statues.” Accessed March 19, 2018. http://www.lassendasishome.com/statues/. Wander Woman Project. “Harriet Tubman Statues by Jane DeDecker Across the US.” Accessed May 25, 2020. https://wanderwomenproject.com/places/harriet-tubman-statues-by-jane-dedecker-across-the-us/. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Monument and Myth: Commemorating Harriet Tubman and the Underground Railroad<a href="https://www.slaverymonuments.org/exhibits/show/commemorating-harriet-tubman" target="_blank" rel="noreferrer noopener"></a> Medium The material or physical carrier of the resource. Bronze Relation A related resource Monument and Myth: Commemorating Harriet Tubman and the Underground Railroad bronze figurative inscription portrait