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                <text>Lifelike-and nearly life-size-statues such as this arresting Saint Sebastian were prevalent in churches in Renaissance Italy. It is carved in inexpensive wood, which was more easily worked than marble or bronze, and allowed for an easy naturalism. The unknown sculptor was concerned with verisimilitude, carving small white teeth between gently parted lips, and accentuating the saint's realistic ribcage, as well as depicting subtly bluish veins with red blood dripping from wounds-all of which contribute to the statue's striking realism. The arms were separately carved and joined to the torso, and there are numerous joins of the wood on the back and rear thighs. The work was likely once attached to a column or fictive tree trunk, but has been fully finished in the round. Consistent with other known similar wooden statues of the saint, the now-filled holes that once held arrows are only present on the front of the work. The saint's crossed legs impart both a sense of reality, as well as one of nonchalance, in defiance of his would-be assassins.&#13;
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Because of his many wounds, Saint Sebastian was seen as an important intercessor for victims of the plague, and was certainly one of the most popular saints of the age. The AMAM possesses two other striking representations of the saint, Hendrick ter Brugghen's Saint Sebastian Tended by Irene of 1625 and Giovanni Boccati's altarpiece fragment showing Saint John the Baptist and Saint Sebastian of around 1460</text>
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                <text>&lt;a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2881979/"&gt;Journal of General Internal Medicine&lt;/a&gt; Vol. 25, Iss. 7, July, 2010, pp. 741–745</text>
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                <text>Undoubtedly the most influential black intellectual of the twentieth century and one of America’s finest historians, W.E.B. Du Bois knew that the liberation of African Americans required liberal education and not vocational training. He saw education as a process of teaching certain timeless values: moderation, an avoidance of luxury, a concern for courtesy, a capacity to endure, a nurturing love for beauty. At the same time, Du Bois saw education as fundamentally subversive. This was as much a function of the well-established role of education—from Plato forward—as the realities of the social order under which he lived. He insistently calls for great energy and initiative; for African Americans controlling their own lives and for continued experimentation and innovation, while keeping education’s fundamentally radical nature in view.&#13;
&#13;
Taken together, these ten essays cover half a century during which the social, political, and technological transformations were unparalleled by any in recorded history. And while Du Bois reflects these changes, certain constants persist: a demand for excellence, sacrifice, and a life of service; and an insistence that while such a life will bring hardships and temptations, it will also bring fulfillment. In Du Bois’s view, only with such a life will one truly live. In this affirmation, there runs a particular feeling that the history of African Americans has profoundly influenced their ideas about service, of compassion, of justice.&#13;
&#13;
Though containing speeches written nearly one-hundred years ago, and on a subject that has seen more stormy debate and demagoguery than almost any other in recent history, The Education of Black People approaches education with a timelessness and timeliness, at once rooted in classical thought that reflects a remarkably fresh and contemporary relevance.</text>
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                <text>&lt;a href="https://monthlyreview.org/product/education_of_black_people/"&gt;Monthly Review Press&lt;/a&gt;</text>
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                <text>from the article "They Starved So That Others Be Better Fed: Remembering Ancel Keys and the Minnesota Experiment"</text>
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                <text>&lt;a href="https://academic.oup.com/jn/article/135/6/1347/4663828"&gt;&lt;em&gt;The Journal of Nutrition&lt;/em&gt;&lt;/a&gt;&lt;span&gt;, Vol. 135, Iss. 6, June 2005, pp. 1347–1352&lt;/span&gt;</text>
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              <text>A noiseless patient spider,&#13;
I mark’d where on a little promontory it stood isolated,&#13;
Mark’d how to explore the vacant vast surrounding,&#13;
It launch’d forth filament, filament, filament, out of itself,&#13;
Ever unreeling them, ever tirelessly speeding them.&#13;
&#13;
And you O my soul where you stand,&#13;
Surrounded, detached, in measureless oceans of space,&#13;
Ceaselessly musing, venturing, throwing, seeking the spheres to connect them,&#13;
Till the bridge you will need be form’d, till the ductile anchor hold,&#13;
Till the gossamer thread you fling catch somewhere, O my soul.</text>
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                <text>&lt;a href="https://www.poetryfoundation.org/poems/45473/a-noiseless-patient-spider"&gt;Poetry Foundation&lt;/a&gt;</text>
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                <text>&lt;a href="http://allenartcollection.oberlin.edu/emuseum/view/objects/asitem/id/9817"&gt;Allen Memorial Art Museum&lt;/a&gt;, Friends of Art Fund</text>
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