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• 2391. [Image] Carmen López Oral History Interview

  	At the time of this interview, Carmen López was an office assistant at the Native American Longhouse. A junior double-majoring in Human Development & Family Sciences and Spanish, López came to OSU from ...
  	Citation × Citation Citation Abstract Copy Title: Carmen López Oral History Interview Year: 2013 At the time of this interview, Carmen López was an office assistant at the Native American Longhouse. A junior double-majoring in Human Development & Family Sciences and Spanish, López came to OSU from her hometown of The Dalles, Oregon. López discusses her experience working as an office assistant at NAL and learning about Native cultures; the NAL booth on Earth Day; the Salmon Bake event; the importance of salmon and camas to the tribes of the Pacific Northwest and the need to better communicate the meaning of salmon, camas, and dream catchers to event attendees; her experiences as a non-Native member of the staff; her feelings on missing the old Quonset hut; her advice for future non-Native NAL staff and any staff working in cultural centers they don't racially or ethnically identify with; the significance of the full name of the new Longhouse; her ideas about the NAL collaborating with the 4Cs; and the positive effect of OSU on her personal identity as Latina, Mexicana, and Chicana. Link to Audio Recording: http://media.oregonstate.edu/media/Oral+History+Interview%3A+Carmen+L%C3%B3pez/0_y35xr4l4 Title: Carmen López Oral History Interview Year: 2013 At the time of this interview, Carmen López was an office assistant at the Native American Longhouse. A junior double-majoring in Human Development & Family Sciences and Spanish, López came to OSU from her hometown of The Dalles, Oregon. López discusses her experience working as an office assistant at NAL and learning about Native cultures; the NAL booth on Earth Day; the Salmon Bake event; the importance of salmon and camas to the tribes of the Pacific Northwest and the need to better communicate the meaning of salmon, camas, and dream catchers to event attendees; her experiences as a non-Native member of the staff; her feelings on missing the old Quonset hut; her advice for future non-Native NAL staff and any staff working in cultural centers they don't racially or ethnically identify with; the significance of the full name of the new Longhouse; her ideas about the NAL collaborating with the 4Cs; and the positive effect of OSU on her personal identity as Latina, Mexicana, and Chicana. Link to Audio Recording: http://media.oregonstate.edu/media/Oral+History+Interview%3A+Carmen+L%C3%B3pez/0_y35xr4l4 Close

• 2392. [Image] Third Eye Theater

  	The Third Eye Theater created by Olympia Washington artists, Dorbe Holden, Gary Webb, and Mark Osbornes (collectively "Stone Studios") is an arrangement of naturally formed Columnar Basalt and Andecite ...
  	Citation × Citation Citation Abstract Copy Title: Third Eye Theater Author: Stone Studios; Holden, Dorbe; Webb, Gary; Osborne, Mark Year: 1975 The Third Eye Theater created by Olympia Washington artists, Dorbe Holden, Gary Webb, and Mark Osbornes (collectively "Stone Studios") is an arrangement of naturally formed Columnar Basalt and Andecite stone. The stones define the area as a gathering place, an impromptu stage for children and adults. The playful arrangement is highly interactive connecting the user with the sculpture by inviting them to step from stone to stone, riding the undulating curves of the stepping stone/seats. The viewer is also invited to engage and interpret the stone people that surround and approach the stage. These stone figures are suggestive of age and personality roles but ultimately their simple presence depends on the viewer to use thier imagination and create the personality and character that reflects their own experience. Children love this sculpture and enjoy dressing the stone people with props to further define their character. The figures also represent guardians that watch out for the surrounding community. These grounding ancient stones define a sacred site that intrigues and stirs the imaginations of people of all ages. (Stone Studios, 1998) Title: Third Eye Theater Author: Stone Studios; Holden, Dorbe; Webb, Gary; Osborne, Mark Year: 1975 The Third Eye Theater created by Olympia Washington artists, Dorbe Holden, Gary Webb, and Mark Osbornes (collectively "Stone Studios") is an arrangement of naturally formed Columnar Basalt and Andecite stone. The stones define the area as a gathering place, an impromptu stage for children and adults. The playful arrangement is highly interactive connecting the user with the sculpture by inviting them to step from stone to stone, riding the undulating curves of the stepping stone/seats. The viewer is also invited to engage and interpret the stone people that surround and approach the stage. These stone figures are suggestive of age and personality roles but ultimately their simple presence depends on the viewer to use thier imagination and create the personality and character that reflects their own experience. Children love this sculpture and enjoy dressing the stone people with props to further define their character. The figures also represent guardians that watch out for the surrounding community. These grounding ancient stones define a sacred site that intrigues and stirs the imaginations of people of all ages. (Stone Studios, 1998) Close

• 2393. [Image] Connie Kim Yen Nguyen-Truong Oral History Interview

  	Connie Kim Yen Nguyen-Truong was born May 26th, 1976, in Portland, Oregon. As her parents were both born in Vietnam, she self-identifies as Vietnamese-American. She grew up in the Portland area and attended ...
  	Citation × Citation Citation Abstract Copy Title: Connie Kim Yen Nguyen-Truong Oral History Interview Year: 2015 Connie Kim Yen Nguyen-Truong was born May 26th, 1976, in Portland, Oregon. As her parents were both born in Vietnam, she self-identifies as Vietnamese-American. She grew up in the Portland area and attended Benson High School. Upon graduation, she attended Linfield College Good Samaritan School of Nursing where she graduated in 2000 with her Bachelors of Science in Nursing. After practicing for five years, Nguyen-Truong attended the Oregon Health & Science University (OHSU) School of Nursing where she received her PhD and completed a post-doctoral fellowship. Her dissertation discussed health practices, in particular cervical cancer screenings, among Vietnamese immigrant women in the United States. This involved work with IRCO AFC's Vietnamese Women's Health Project. After defending her dissertation in 2011, she pursued her postdoctoral fellowship through 2013. Not only did she worked with IRCO in the Vietnamese Women's Health Project (parts one, two, and three) and its community advisory board, but she also became a board member for AFC during her post-doc and a fellow of the Asian Pacific Islander Community Leadership Institute's cohort one. Nguyen-Truong continued her work in part three of the Vietnamese Women's Health Project with AFC, was a member of APICLI's Steering Committee, and was appointed co-chair of IRCO AFC's advisory board in 2015. Her duties included discussing funding, programs, and the future of AFC. Nguyen-Truong was also a professional nurse and nurse educator at OHSU in Portland. In the summer of 2015, she accepted a position at the Washington State University College of Nursing. Title: Connie Kim Yen Nguyen-Truong Oral History Interview Year: 2015 Connie Kim Yen Nguyen-Truong was born May 26th, 1976, in Portland, Oregon. As her parents were both born in Vietnam, she self-identifies as Vietnamese-American. She grew up in the Portland area and attended Benson High School. Upon graduation, she attended Linfield College Good Samaritan School of Nursing where she graduated in 2000 with her Bachelors of Science in Nursing. After practicing for five years, Nguyen-Truong attended the Oregon Health & Science University (OHSU) School of Nursing where she received her PhD and completed a post-doctoral fellowship. Her dissertation discussed health practices, in particular cervical cancer screenings, among Vietnamese immigrant women in the United States. This involved work with IRCO AFC's Vietnamese Women's Health Project. After defending her dissertation in 2011, she pursued her postdoctoral fellowship through 2013. Not only did she worked with IRCO in the Vietnamese Women's Health Project (parts one, two, and three) and its community advisory board, but she also became a board member for AFC during her post-doc and a fellow of the Asian Pacific Islander Community Leadership Institute's cohort one. Nguyen-Truong continued her work in part three of the Vietnamese Women's Health Project with AFC, was a member of APICLI's Steering Committee, and was appointed co-chair of IRCO AFC's advisory board in 2015. Her duties included discussing funding, programs, and the future of AFC. Nguyen-Truong was also a professional nurse and nurse educator at OHSU in Portland. In the summer of 2015, she accepted a position at the Washington State University College of Nursing. Close

• 2394. [Image] Portland's silent epidemic: lead poisoned African American & Latino children

  	Abstract: In the United States, lead poisoning is one of the most common childhood diseases, and children of color are disproportionately its victims. Portland is no different. Despite federal restrictions ...
  	Citation × Citation Citation Abstract Copy Title: Portland's silent epidemic: lead poisoned African American & Latino children Author: Urban League of Portland (Portland, Or.) Year: 1996 Abstract: In the United States, lead poisoning is one of the most common childhood diseases, and children of color are disproportionately its victims. Portland is no different. Despite federal restrictions on lead use, many low income and children of color in Portland continue to live, learn and play in lead contaminated environments. Ingested and inhaled by children, lead causes many serious health problems including heart disease and possibly cancer. Lead can also cause neuro-behavioral problems such as Attention Deficit Disorder. As a result, in addition to causing health problems, Portland's childhood lead poisoning epidemic also steals education and economic opportunity and parity from primarily low income and people of color, families and communities - the populations served by the Urban League of Portland. Portland's childhood lead poisoning epidemic is preventable. What is lacking is a properly designed, funded and executed lead poisoning prevention and education program. Public ignorance and political indifference are the obstacles. The Urban League of Portland's role in stopping childhood lead poisoning is to inform and educate the community we serve, and to mobilize community and political support to fund and create an effective childhood lead poisoning prevention effort. Title: Portland's silent epidemic: lead poisoned African American & Latino children Author: Urban League of Portland (Portland, Or.) Year: 1996 Abstract: In the United States, lead poisoning is one of the most common childhood diseases, and children of color are disproportionately its victims. Portland is no different. Despite federal restrictions on lead use, many low income and children of color in Portland continue to live, learn and play in lead contaminated environments. Ingested and inhaled by children, lead causes many serious health problems including heart disease and possibly cancer. Lead can also cause neuro-behavioral problems such as Attention Deficit Disorder. As a result, in addition to causing health problems, Portland's childhood lead poisoning epidemic also steals education and economic opportunity and parity from primarily low income and people of color, families and communities - the populations served by the Urban League of Portland. Portland's childhood lead poisoning epidemic is preventable. What is lacking is a properly designed, funded and executed lead poisoning prevention and education program. Public ignorance and political indifference are the obstacles. The Urban League of Portland's role in stopping childhood lead poisoning is to inform and educate the community we serve, and to mobilize community and political support to fund and create an effective childhood lead poisoning prevention effort. Close

• 2395. [Image] Third Eye Theater

  	A photo of a girl running in the middle of the Third Eye Theater installation. Four flat rocks are centered in the middle, surrounded by rocks lined up in ascending order of size. "Observing" the design ...
  	Citation × Citation Citation Abstract Copy Title: Third Eye Theater Author: Stone Studios; Holden, Dorbe; Webb, Gary; Osborne, Mark Year: 1975 A photo of a girl running in the middle of the Third Eye Theater installation. Four flat rocks are centered in the middle, surrounded by rocks lined up in ascending order of size. "Observing" the design are two unique standing sculptures, which appear human-like with rock heads and column bodies. Grass surrounds all of the rocks, and there is a dwelling in the background. The Third Eye Theater created by Olympia Washington artists, Dorbe Holden, Gary Webb, and Mark Osbornes (collectively "Stone Studios") is an arrangement of naturally formed Columnar Basalt and Andecite stone. The stones define the area as a gathering place, an impromptu stage for children and adults. The playful arrangement is highly interactive connecting the user with the sculpture by inviting them to step from stone to stone, riding the undulating curves of the stepping stone/seats. The viewer is also invited to engage and interpret the stone people that surround and approach the stage. These stone figures are suggestive of age and personality roles but ultimately their simple presence depends on the viewer to use thier imagination and create the personality and character that reflects their own experience. Children love this sculpture and enjoy dressing the stone people with props to further define their character. The figures also represent guardians that watch out for the surrounding community. These grounding ancient stones define a sacred site that intrigues and stirs the imaginations of people of all ages. (Stone Studios, 1998) Title: Third Eye Theater Author: Stone Studios; Holden, Dorbe; Webb, Gary; Osborne, Mark Year: 1975 A photo of a girl running in the middle of the Third Eye Theater installation. Four flat rocks are centered in the middle, surrounded by rocks lined up in ascending order of size. "Observing" the design are two unique standing sculptures, which appear human-like with rock heads and column bodies. Grass surrounds all of the rocks, and there is a dwelling in the background. The Third Eye Theater created by Olympia Washington artists, Dorbe Holden, Gary Webb, and Mark Osbornes (collectively "Stone Studios") is an arrangement of naturally formed Columnar Basalt and Andecite stone. The stones define the area as a gathering place, an impromptu stage for children and adults. The playful arrangement is highly interactive connecting the user with the sculpture by inviting them to step from stone to stone, riding the undulating curves of the stepping stone/seats. The viewer is also invited to engage and interpret the stone people that surround and approach the stage. These stone figures are suggestive of age and personality roles but ultimately their simple presence depends on the viewer to use thier imagination and create the personality and character that reflects their own experience. Children love this sculpture and enjoy dressing the stone people with props to further define their character. The figures also represent guardians that watch out for the surrounding community. These grounding ancient stones define a sacred site that intrigues and stirs the imaginations of people of all ages. (Stone Studios, 1998) Close

• 2396. [Image] Asterope; Apulian Red-Figure Loutrophoros; Vessel with Leda and the Swan; Ritual Water Jar with Zeus, Aphrodite, and Eros (Above) and Leda and the Swan (Below)

  	The excessive mourning of the mythological figure Niobe decorates this Apulian red-figure loutrophoros. Niobe's foolish boasting led to the slaughter of her fourteen children by the gods Apollo and Artemis. ...
  	Citation × Citation Citation Abstract Copy Title: Asterope; Apulian Red-Figure Loutrophoros; Vessel with Leda and the Swan; Ritual Water Jar with Zeus, Aphrodite, and Eros (Above) and Leda and the Swan (Below) The excessive mourning of the mythological figure Niobe decorates this Apulian red-figure loutrophoros. Niobe's foolish boasting led to the slaughter of her fourteen children by the gods Apollo and Artemis. For nine days and nights, she mourned, ignoring family members' attempts to comfort her. Finally, Zeus took pity on Niobe's grief and turned her to stone. On this vase, Niobe stands in a funerary naiskos surrounded by four attendants holding grave offerings. Her brother Pelops drives up in his chariot with his bride Hippodameia to urge her to stop grieving. By painting the lower part of her dress white, the painter indicated Niobe slowly turning to stone from the feet up. The back of the vase also depicts a funerary naiskos flanked by attendants and containing a large funerary lekythos. Both the structure and the vessel are painted white to represent stone. Loutrophoroi, made of both terracotta and marble, were placed as markers on the graves of the unwed. In the scene on the front, two loutrophoroi flank Niobe. The one on the right with figural decoration is the same form as this vase. As these painted depictions show, this terracotta loutrophoros would originally have been placed on a stand. --The J. Paul Getty Museum; default; default; Red-figure; Apulian (pottery style) Title: Asterope; Apulian Red-Figure Loutrophoros; Vessel with Leda and the Swan; Ritual Water Jar with Zeus, Aphrodite, and Eros (Above) and Leda and the Swan (Below) The excessive mourning of the mythological figure Niobe decorates this Apulian red-figure loutrophoros. Niobe's foolish boasting led to the slaughter of her fourteen children by the gods Apollo and Artemis. For nine days and nights, she mourned, ignoring family members' attempts to comfort her. Finally, Zeus took pity on Niobe's grief and turned her to stone. On this vase, Niobe stands in a funerary naiskos surrounded by four attendants holding grave offerings. Her brother Pelops drives up in his chariot with his bride Hippodameia to urge her to stop grieving. By painting the lower part of her dress white, the painter indicated Niobe slowly turning to stone from the feet up. The back of the vase also depicts a funerary naiskos flanked by attendants and containing a large funerary lekythos. Both the structure and the vessel are painted white to represent stone. Loutrophoroi, made of both terracotta and marble, were placed as markers on the graves of the unwed. In the scene on the front, two loutrophoroi flank Niobe. The one on the right with figural decoration is the same form as this vase. As these painted depictions show, this terracotta loutrophoros would originally have been placed on a stand. --The J. Paul Getty Museum; default; default; Red-figure; Apulian (pottery style) Close

• 2397. [Image] Asterope; Apulian Red-Figure Loutrophoros; Vessel with Leda and the Swan; Ritual Water Jar with Zeus, Aphrodite, and Eros (Above) and Leda and the Swan (Below)

  	The excessive mourning of the mythological figure Niobe decorates this Apulian red-figure loutrophoros. Niobe's foolish boasting led to the slaughter of her fourteen children by the gods Apollo and Artemis. ...
  	Citation × Citation Citation Abstract Copy Title: Asterope; Apulian Red-Figure Loutrophoros; Vessel with Leda and the Swan; Ritual Water Jar with Zeus, Aphrodite, and Eros (Above) and Leda and the Swan (Below) The excessive mourning of the mythological figure Niobe decorates this Apulian red-figure loutrophoros. Niobe's foolish boasting led to the slaughter of her fourteen children by the gods Apollo and Artemis. For nine days and nights, she mourned, ignoring family members' attempts to comfort her. Finally, Zeus took pity on Niobe's grief and turned her to stone. On this vase, Niobe stands in a funerary naiskos surrounded by four attendants holding grave offerings. Her brother Pelops drives up in his chariot with his bride Hippodameia to urge her to stop grieving. By painting the lower part of her dress white, the painter indicated Niobe slowly turning to stone from the feet up. The back of the vase also depicts a funerary naiskos flanked by attendants and containing a large funerary lekythos. Both the structure and the vessel are painted white to represent stone. Loutrophoroi, made of both terracotta and marble, were placed as markers on the graves of the unwed. In the scene on the front, two loutrophoroi flank Niobe. The one on the right with figural decoration is the same form as this vase. As these painted depictions show, this terracotta loutrophoros would originally have been placed on a stand. --The J. Paul Getty Museum; default; default; Red-figure; Apulian (pottery style) Title: Asterope; Apulian Red-Figure Loutrophoros; Vessel with Leda and the Swan; Ritual Water Jar with Zeus, Aphrodite, and Eros (Above) and Leda and the Swan (Below) The excessive mourning of the mythological figure Niobe decorates this Apulian red-figure loutrophoros. Niobe's foolish boasting led to the slaughter of her fourteen children by the gods Apollo and Artemis. For nine days and nights, she mourned, ignoring family members' attempts to comfort her. Finally, Zeus took pity on Niobe's grief and turned her to stone. On this vase, Niobe stands in a funerary naiskos surrounded by four attendants holding grave offerings. Her brother Pelops drives up in his chariot with his bride Hippodameia to urge her to stop grieving. By painting the lower part of her dress white, the painter indicated Niobe slowly turning to stone from the feet up. The back of the vase also depicts a funerary naiskos flanked by attendants and containing a large funerary lekythos. Both the structure and the vessel are painted white to represent stone. Loutrophoroi, made of both terracotta and marble, were placed as markers on the graves of the unwed. In the scene on the front, two loutrophoroi flank Niobe. The one on the right with figural decoration is the same form as this vase. As these painted depictions show, this terracotta loutrophoros would originally have been placed on a stand. --The J. Paul Getty Museum; default; default; Red-figure; Apulian (pottery style) Close

• 2398. [Image] Leda and Swan; Apulian Red-Figure Loutrophoros; Vessel with Leda and the Swan; Ritual Water Jar with Zeus, Aphrodite, and Eros (Above) and Leda and the Swan (Below)

  	The excessive mourning of the mythological figure Niobe decorates this Apulian red-figure loutrophoros. Niobe's foolish boasting led to the slaughter of her fourteen children by the gods Apollo and Artemis. ...
  	Citation × Citation Citation Abstract Copy Title: Leda and Swan; Apulian Red-Figure Loutrophoros; Vessel with Leda and the Swan; Ritual Water Jar with Zeus, Aphrodite, and Eros (Above) and Leda and the Swan (Below) The excessive mourning of the mythological figure Niobe decorates this Apulian red-figure loutrophoros. Niobe's foolish boasting led to the slaughter of her fourteen children by the gods Apollo and Artemis. For nine days and nights, she mourned, ignoring family members' attempts to comfort her. Finally, Zeus took pity on Niobe's grief and turned her to stone. On this vase, Niobe stands in a funerary naiskos surrounded by four attendants holding grave offerings. Her brother Pelops drives up in his chariot with his bride Hippodameia to urge her to stop grieving. By painting the lower part of her dress white, the painter indicated Niobe slowly turning to stone from the feet up. The back of the vase also depicts a funerary naiskos flanked by attendants and containing a large funerary lekythos. Both the structure and the vessel are painted white to represent stone. Loutrophoroi, made of both terracotta and marble, were placed as markers on the graves of the unwed. In the scene on the front, two loutrophoroi flank Niobe. The one on the right with figural decoration is the same form as this vase. As these painted depictions show, this terracotta loutrophoros would originally have been placed on a stand. --The J. Paul Getty Museum; default; default; Red-figure; Apulian (pottery style) Title: Leda and Swan; Apulian Red-Figure Loutrophoros; Vessel with Leda and the Swan; Ritual Water Jar with Zeus, Aphrodite, and Eros (Above) and Leda and the Swan (Below) The excessive mourning of the mythological figure Niobe decorates this Apulian red-figure loutrophoros. Niobe's foolish boasting led to the slaughter of her fourteen children by the gods Apollo and Artemis. For nine days and nights, she mourned, ignoring family members' attempts to comfort her. Finally, Zeus took pity on Niobe's grief and turned her to stone. On this vase, Niobe stands in a funerary naiskos surrounded by four attendants holding grave offerings. Her brother Pelops drives up in his chariot with his bride Hippodameia to urge her to stop grieving. By painting the lower part of her dress white, the painter indicated Niobe slowly turning to stone from the feet up. The back of the vase also depicts a funerary naiskos flanked by attendants and containing a large funerary lekythos. Both the structure and the vessel are painted white to represent stone. Loutrophoroi, made of both terracotta and marble, were placed as markers on the graves of the unwed. In the scene on the front, two loutrophoroi flank Niobe. The one on the right with figural decoration is the same form as this vase. As these painted depictions show, this terracotta loutrophoros would originally have been placed on a stand. --The J. Paul Getty Museum; default; default; Red-figure; Apulian (pottery style) Close

• 2399. [Image] Leda and Swan; Apulian Red-Figure Loutrophoros; Vessel with Leda and the Swan; Ritual Water Jar with Zeus, Aphrodite, and Eros (Above) and Leda and the Swan (Below)

  	The excessive mourning of the mythological figure Niobe decorates this Apulian red-figure loutrophoros. Niobe's foolish boasting led to the slaughter of her fourteen children by the gods Apollo and Artemis. ...
  	Citation × Citation Citation Abstract Copy Title: Leda and Swan; Apulian Red-Figure Loutrophoros; Vessel with Leda and the Swan; Ritual Water Jar with Zeus, Aphrodite, and Eros (Above) and Leda and the Swan (Below) The excessive mourning of the mythological figure Niobe decorates this Apulian red-figure loutrophoros. Niobe's foolish boasting led to the slaughter of her fourteen children by the gods Apollo and Artemis. For nine days and nights, she mourned, ignoring family members' attempts to comfort her. Finally, Zeus took pity on Niobe's grief and turned her to stone. On this vase, Niobe stands in a funerary naiskos surrounded by four attendants holding grave offerings. Her brother Pelops drives up in his chariot with his bride Hippodameia to urge her to stop grieving. By painting the lower part of her dress white, the painter indicated Niobe slowly turning to stone from the feet up. The back of the vase also depicts a funerary naiskos flanked by attendants and containing a large funerary lekythos. Both the structure and the vessel are painted white to represent stone. Loutrophoroi, made of both terracotta and marble, were placed as markers on the graves of the unwed. In the scene on the front, two loutrophoroi flank Niobe. The one on the right with figural decoration is the same form as this vase. As these painted depictions show, this terracotta loutrophoros would originally have been placed on a stand. --The J. Paul Getty Museum; default; default; Red-figure; Apulian (pottery style) Title: Leda and Swan; Apulian Red-Figure Loutrophoros; Vessel with Leda and the Swan; Ritual Water Jar with Zeus, Aphrodite, and Eros (Above) and Leda and the Swan (Below) The excessive mourning of the mythological figure Niobe decorates this Apulian red-figure loutrophoros. Niobe's foolish boasting led to the slaughter of her fourteen children by the gods Apollo and Artemis. For nine days and nights, she mourned, ignoring family members' attempts to comfort her. Finally, Zeus took pity on Niobe's grief and turned her to stone. On this vase, Niobe stands in a funerary naiskos surrounded by four attendants holding grave offerings. Her brother Pelops drives up in his chariot with his bride Hippodameia to urge her to stop grieving. By painting the lower part of her dress white, the painter indicated Niobe slowly turning to stone from the feet up. The back of the vase also depicts a funerary naiskos flanked by attendants and containing a large funerary lekythos. Both the structure and the vessel are painted white to represent stone. Loutrophoroi, made of both terracotta and marble, were placed as markers on the graves of the unwed. In the scene on the front, two loutrophoroi flank Niobe. The one on the right with figural decoration is the same form as this vase. As these painted depictions show, this terracotta loutrophoros would originally have been placed on a stand. --The J. Paul Getty Museum; default; default; Red-figure; Apulian (pottery style) Close

• 2400. [Image] PH036_1305 Lee Moorhouse photographs

  	An outside photograph of a group of people--an adult male holding a baby, and five adult or teenage women, one woman holding a baby--standing in front of a log cabin. The group of people are wearing Euro-American ...
  	Citation × Citation Citation Abstract Copy Title: PH036_1305 Lee Moorhouse photographs Year: 1897 An outside photograph of a group of people--an adult male holding a baby, and five adult or teenage women, one woman holding a baby--standing in front of a log cabin. The group of people are wearing Euro-American clothing. The log cabin displays two tall windows with curtains and an open door between the windows. The log cabin has a slanted roof. Small, dirt yard in front of log cabin surrounded by wood fence with an open gate. Small, wood patio in front of log cabin's open door with the group of five adult or teenage women standing on it. The adult male is standing to the right of the patio. In the background of the log cabin are clusters of very tall, slim trees--possibly fir trees--growing up a hill or mountain side. A tall, slim tree is growing in the small, dirt yard in front and to the right of the patio. The log cabin is located in what has been identified as Huron, Oregon. Title: PH036_1305 Lee Moorhouse photographs Year: 1897 An outside photograph of a group of people--an adult male holding a baby, and five adult or teenage women, one woman holding a baby--standing in front of a log cabin. The group of people are wearing Euro-American clothing. The log cabin displays two tall windows with curtains and an open door between the windows. The log cabin has a slanted roof. Small, dirt yard in front of log cabin surrounded by wood fence with an open gate. Small, wood patio in front of log cabin's open door with the group of five adult or teenage women standing on it. The adult male is standing to the right of the patio. In the background of the log cabin are clusters of very tall, slim trees--possibly fir trees--growing up a hill or mountain side. A tall, slim tree is growing in the small, dirt yard in front and to the right of the patio. The log cabin is located in what has been identified as Huron, Oregon. Close