In 1803, the United States purchased the Louisiana Territory—800,000 square miles of land in the interior of North America. Most of this land had not been previously explored or documented. President Thomas Jefferson chose Meriwether Lewis and William Clark to lead an ambitious military expedition, seeking a northwestern passage to the Pacific Ocean and to document their journey in this unknown territory. Starting in what is now Missouri, the expedition followed the Missouri River and passed through present-day Montana on its way to the Pacific. The explorers commented on the beauty of the landscape and the abundance of animals, and their descriptions attracted fur traders and others ready to take advantage of the region's abundant natural resources. The discovery of gold in 1862 brought in the first rush of people and subsequent mining forever changed the region. The mining industry demanded support in the form of towns, railroads, logging, ranching, and farming. These industries shaped Montana and the people who settled there. This exhibition explores the industries that brought settlers to Montana from the early days to the 1920s. Each industry had its own “boom and bust” cycle that impacted the residents and the future of the state. This exhibition was created as part of the DPLA’s Public Library Partnerships Project by collaborators from Montana Memory Project: Jennifer Birnel, Della Yeager, Cody Allen, Dale Alger, Caroline Campbell, Carly Delsigne, Pam Henley, Stef Johnson, Lisa Mecklenberg-Jackson, Laura Tretter, and Franky Abbott. Exhibition organizers: Jennifer Birnel and Franky Abbott.

This art history video discussion examines Hieronymus Bosch's "Last Judgment Triptych", 1504-08, Akademie fur bildenden Kunste, Vienna, overall dimensions.

The lessons in this issue of Smithsonian in Your Classroom introduce the work of botanists and botanical illustrators, specifically their race to make records of endangered plant species around the world. “Very little of the world’s flora has been fully studied,” says one Smithsonian botanist, “and time is running out.” In the first lesson, students gets to know six endangered plants. They examine illustrations, photographs, and dried specimens of the plants as they consider this question: If a scientist can take a picture of a plant, are there advantages in having an illustration? They go on to consider some of the big questions that botanists themselves must ask: Which of these species are most in need of conservation efforts? Are any of these plants more worth saving than others?In the second lesson, the students try their own hands at botanical illustration, following the methods of a Smithsonian staff illustrator. All that is required for the lesson are pencils, markers, tracing paper, and access to a photocopier.

The lessons in this issue of Smithsonian in Your Classroom introduce the work of botanists and botanical illustrators, specifically their race to make records of endangered plant species around the world. “Very little of the world’s flora has been fully studied,” says one Smithsonian botanist, “and time is running out.” In the first lesson, students gets to know six endangered plants. They examine illustrations, photographs, and dried specimens of the plants as they consider this question: If a scientist can take a picture of a plant, are there advantages in having an illustration? They go on to consider some of the big questions that botanists themselves must ask: Which of these species are most in need of conservation efforts? Are any of these plants more worth saving than others?In the second lesson, the students try their own hands at botanical illustration, following the methods of a Smithsonian staff illustrator. All that is required for the lesson are pencils, markers, tracing paper, and access to a photocopier.

This art history video discussion looks at Botticelli's "La Primavera (Spring)", 1481-1482, tempera on panel, 80 x 123 1/2" (203 x 314), Uffizi, Florence.

This art history video discussion examines Francois Boucher's "Madame de Pompadour", oil on canvas, 1750 (extention of canvas and additional painting likely added by Boucher later, Fogg Museum.

This art history video discussion examines John Singleton Copley's "A Boy with a Flying Squirrel" (Henry Pelham), 1765, 77.15 x 63.82 cm / 30-3/8 x 25-1/8 inches (Museum of Fine Arts, Boston).

In this BrainVenture student take a look at the manatee and its environment in the Everglades of Florida. Students read and watch videos about the manatee then do a comparison of the sea cow and the cow. Students are also prompted to help save the manatees by writing a letter.

This art history video discussion examines Donato Bramante's "Tempietto", c. 1502, San Pietro in Montorio, Rome.

This art history video discussion looks at Constantin Brancusi's "Bird in Space", bronze, limestone, wood, 1928 (MoMA).

This art history video discussion examines Georges Braque's "Le Viaduc a L'Estaque", (The Viaduct at L'Estaque), 1908, oil on canvas (Musee national d'art moderne, Centre Pompidou, Paris).

The Lawrence Textile Strike was a public protest mainly of immigrant workers from several countries, including Austria, Belgium, Cuba, Canada, France, England, Germany, Greece, Ireland, Italy, Lithuania, Netherlands, Norway, Poland, Portugal, Russia, Scotland, Spain, Syria, and Turkey. According to the 1910 census, 65% of mill workers (many of whom eventually struck) lived in the United States for less than 10 years; 47% for less than five years. Prompted by a wage cut, the walkout spread quickly from mill to mill across the city. Strikers defied the assumptions of conservative trade unions within the American Federation of Labor that immigrant, largely female and ethnically diverse workers could not be organized. The Lawrence strike is referred to as the “Bread and Roses” strike and “The Strike for Three Loaves." The first known source to do so was a 1916 labor anthology, The Cry for Justice: An Anthology of the Literature of Social Protest by Upton Sinclair. Prior to that, the slogan, used as the title of a 1911 poem by James Oppenheim, had been attributed to ‘Chicago Women Trade Unionists.’ It has also been attributed to socialist union organizer Rose Schneiderman. James Oppenheim claimed his seeing women strikers in Lawrence carrying a banner proclaiming “We Want Bread and Roses Too” inspired the poem, “Bread and Roses.” The poem, however, was written and published in 1911 prior to the strike. Later the poem was set to music by Caroline Kohlsaat and then by Mimi Farina. The song and slogan are now important parts of the labor movement and women’s movement worldwide. This exhibition was made in collaboration with the Lawrence History Center and the University of Massachusetts Lowell History Department.

This art history video discussion examines Bronzino's "Portrait of a Young Man," oil on panel, 1530s (Metropolitan Museum of Art) Bronzino, Lodovico Capponi, Oil on panel, 1550-55 (Frick Collection).

This art history video discussion examines Bronzino's "Portrait of Eleonora di Toledo with her son Giovanni," 1544-1545, oil on panel, 115.00 x 96.00 cm (Galleria degli Uffizi).

This art history video discussion examines Pieter Bruegel the Elder's "The Dutch Proverbs," 1559, oil on oak, 117 x 163 cm (Gemaldegalerie, Staatliche Museen zu Berlin).

This art history video discussion examines Pieter Bruegel the Elder's "The Tower of Babel," 1563, oil on panel, 114 x 155 cm (Kunsthistorisches Museum, Vienna).

This art history video discussion examines Brunelleschi & Ghiberti's "Sacrifice of Isaac," competition panels for the second set of bronze doors for the Florence Baptistery, 1401-2.

This art history video discussion examines Brunelleschi's "Dome of the Cathedral of Florence," 1420-36.

This art history video discussion examines Brunelleschi's "Old Sacristy", San Lorenzo, Florence, begun c. 1421.

This art history video discussion examines Filippo Brunelleschi's Pazzi Chapel, Santa Croce, Florence, begun 1420s, completed 1460s.