Maine Memory Network

Mary Drake Seeley, Houlton, ca. 1890

Contributed by: Aroostook County Historical and Art Museum Date: circa 1890 Location: Houlton Media: Photographic print

Mary Caffrey Low, Waterville, 1875

Contributed by: Colby College Special Collections Date: circa 1875 Location: Waterville Media: Cabinet photograph

Mary Mason Residence, Little Chebeague Island, Portland, 1924

Owner in 1924: Mary C. Mason Use: Summer Dwelling

Mary Mason Residence, Little Chebeague Island, Portland, 1924

Owner in 1924: Mary C. Mason Use: Summer Dwelling

The Mary Brown Home, Portland, ca. 1903

Contributed by: Maine Historical Society Date: circa 1903 Location: Portland; Portland; Portland Client: Mary Brown Architect: Frederick A. Tompson

Portion of Anthony Jonklass property and site locations for Mary Louise McGregor, Sedgwick, 1989-1991

Contributed by: Maine Historical Society Date: 1989–1991 Location: Sedgwick Client: Mary Louise McGregor Architect: Landscape Design Associates

Samplers: Learning to Sew

Settlers' clothing had to be durable and practical to hold up against hard work and winters. From the 1700s to the mid 1800s, the women of Maine learned to sew by making samplers.

Northern Threads: The rise and fall of the gigot sleeve

A themed exhibit vignette within "Northern Threads Part I," featuring the balloon-like gigot sleeve of the 1830s.

Blue Hill, Maine - Mary Ellen Chase

"Mary Ellen Chase Mary Ellen Chase, author of Silas Crockett, ca. 1935Maine Historical Society Mary Ellen Chase, the granddaughter of a sea…"

Franco-American Heritage Center at St. Mary's

View collections, facts, and contact information for this Contributing Partner.

Passamaquoddy Maple, reaching back to our ancestral roots
by Marie Harnois

Tribally owned Passamaquoddy Maple is an economic and cultural heritage opportunity

The Equal Freedom to Marry
by Mary L Bonauto

Marriage Equality, Maine, and the U.S. Supreme Court

Longfellow Studies: Integration of Longfellow's Poetry into American Studies

Grade Level: 9-12 Content Area: English Language Arts, Social Studies
We explored Longfellow's ability to express universality of human emotions/experiences while also looking at the patterns he articulated in history that are applicable well beyond his era. We attempted to link a number of Longfellow's poems with different eras in U.S. History and accompanying literature, so that the poems complemented the various units. With each poem, we want to explore the question: What is American identity?

Longfellow Studies: Longfellow and the American Sonnet

Grade Level: 9-12 Content Area: English Language Arts, Social Studies
Traditionally the Petrarchan sonnet as used by Francesco Petrarch was a 14 line lyric poem using a pattern of hendecasyllables and a strict end-line rhyme scheme; the first twelve lines followed one pattern and the last two lines another. The last two lines were the "volta" or "turn" in the poem. When the sonnet came to the United States sometime after 1775, through the work of Colonel David Humphreys, Longfellow was one of the first to write widely in this form which he adapted to suit his tone. Since 1900 poets have modified and experimented with the traditional traits of the sonnet form.