Three in a Casket: Tragic Post Mortem Picture of Keller Family – Father, Mother and Baby Taken in New York, ca. 1894

Mr. and Mrs. Keller were natives of Switzerland, the former being born in Zurich. They came to the US about five years ago. Keller secured employment as gardener in Philadelphia. He afterwards went to Washington, D.C. then to Auburn, New York two years back.

Mary Keller, 29 years old, shot and killed her husband, Emil, 30 years old, and shot their 9 months old babe, Anna, Thursday night January 25, 1894 about 8:30 at their residence, No. 10 Burt avenue.

The baby was the second victim of the insane woman’s pistol. The little one’s crib was within easy reach of the bed. It is thought that Mrs. Keller raised herself to a sitting posture and aimed the pistol at the little one’s heart. If she did it was the only one of the three shots in which her aim was not unerring. Then she turned the pistol against her own head and made the wound as described, which resulted in her death.

Shortly after 6 o’clock Friday night death came to the relief of little Anna Keller at the City hospital. It was found that the bullet from the mother’s revolver had penetrated the infant’s right lung and come out on the left side.

Father, mother and daughter were buried in the same casket, which was a special order, about 4 inches deeper and 9 inches wider than the ordinary, and covered with gray embossed plush. The head of Mrs. Keller rested on the left shoulder of her husband, thus hiding from view the wound in her temple and partly covering a discoloration of the right eye. There were traces of suffering in the woman’s face but her husband looks as if he were in slumber. His left arm encircled the body of his wife while his right rested on his hip. Between the mother and father was the infant, a handsome, plump child. Its right hand was clasped by the left of its mother while its left rested on the mother’s left arm. The mother and the infant were laid out in plain white shrouds while the husband and father had a coat and vest of plain black and trousers of a dark pattern.

The reasons behind Mary’s actions remain a tragic mystery, lost to time and silence. Newspapers of the day speculated about domestic strain, illness, or undiagnosed mental health issues, though no definitive explanation was ever determined. What is certain is the deep sadness that gripped the Auburn community in the aftermath.

The photo, preserved by the Thanatos Archive, offers a rare, haunting glimpse into 19th-century mourning practices and the way communities coped with such grim events. The image evokes not only grief but also a quiet contemplation of how fragile the line is between ordinary life and tragedy. The Keller family’s story, captured in one chilling moment, serves as a reminder of the hidden struggles people carry-and the profound human need to find peace, even in death.

Anna Karina: The Muse of the French New Wave

Anna Karina was one of the most luminous stars of European cinema in the 1960s, an actress, singer, director, and writer whose life and career captured the spirit of the French New Wave. Born Hanne Karin Blarke Bayer in Copenhagen in 1940, she moved to Paris as a teenager, where her striking beauty led her first into modeling and then into film. It was there that she encountered Jean-Luc Godard, who became both her husband and her most important artistic collaborator.

With Godard, Karina appeared in a string of films that would define an era: A Woman Is a Woman (1961), Vivre sa vie (1962), Band of Outsiders (1964), Pierrot le Fou (1965), and Alphaville (1965). In these works she embodied a new kind of heroine—playful yet melancholic, intelligent yet vulnerable, radiant yet mysterious. Her large, expressive eyes and her understated elegance made her unforgettable, while her performances gave depth and complexity to roles that might otherwise have seemed ephemeral.

But Anna Karina was far more than Godard’s muse. She pursued her own artistic path, directing films such as Vivre ensemble (1973), writing novels, and recording music that revealed her distinctive voice and sensibility. Throughout her career she remained a symbol of freedom, independence, and creative exploration.

Even decades after the height of her fame, Karina’s presence continues to inspire filmmakers, actors, and audiences around the world. She was not simply a star of her time but a timeless figure whose artistry and individuality embody the very essence of cinematic modernity. Take a look at these fabulous portraits to see the beauty of a young Anna Karina from the 1960s.

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50 Vintage Portraits of Women Wearing Lace Fingerless Gauntlets From the 19th Century

Lace fingerless gauntlets, often referred to as “mitts,” were a popular and significant accessory in the 19th century, particularly during the Victorian era. More than just a simple piece of clothing, they were a powerful symbol of social status, modesty, and etiquette.

Fingerless gloves were fashionable in the mid-19th century for both day and evening wear, and their popularity waxed and waned throughout the century. One of the reasons for their appeal was their practicality. The open fingers allowed freedom of movement for tasks like turning book pages, writing, or needlework while maintaining the social expectation that hands and arms should be covered in polite society.

While full-fingered gloves were typically made of kid leather, fingerless mitts were often crafted from fine lace, silk, or cotton. They could be short, extending only to the wrist for daytime wear, or long, reaching to or above the elbow for formal evening occasions like balls or dinner parties.

The mid-19th century saw a significant shift in lacemaking. Prior to this, lace was an expensive, handcrafted luxury. The invention of lace-making machines in the mid-1800s made lace more widely available and affordable, allowing more people, including the working classes, to wear these stylish accessories. Working-class women, in particular, found fingerless gloves to be a relatively inexpensive way to accessorize and cover hands that were roughened by manual labor.

The term “gauntlet” typically refers to a glove with a flared cuff that extends up the forearm. In the context of 19th-century lace mitts, a “gauntlet” style would have featured a deep, often flowing, cuff of delicate lace. This style was particularly popular in the later part of the century, with some sources from the 1870s noting the popularity of “black lace mitts of the finest possible texture, made with deep flowing cuffs.”

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35 Amazing Photographs Capture the Exterior of the Coliseum in Rome, Italy From the 19th Century

The 19th century was a pivotal period in the history of the Colosseum, marking a significant shift from its centuries-long use as a quarry and a source of building materials to a revered historical monument and a subject of systematic preservation.

After centuries of decay, earthquakes, and plundering, the Colosseum was in a state of serious disrepair. The 19th century saw a concerted effort to stabilize and restore the structure. Following a major earthquake in 1806, which caused significant damage, architects like Raffaele Stern, Giuseppe Valadier, and Luigi Canina began extensive work to secure the crumbling walls. They added large brick abutments to support the outer ring, particularly on the more damaged southern side. These interventions were crucial in preventing the monument’s further collapse and are still visible today.

The 19th century was also a time of heightened archaeological interest. Systematic excavations were conducted to uncover the Colosseum's long-buried subterranean features, known as the hypogeum. This underground network of tunnels, cages, and elevators, which was used to house animals and gladiators and to stage spectacles, had been filled with dirt and debris over centuries. The excavations, led by figures like Carlo Fea and Pietro Rossi, removed later medieval additions and revealed the true complexity of the ancient structure.

For centuries, the Colosseum had been used for various purposes, including as a fortress, a cemetery, a source of building materials for churches and palaces, and even a place with small shops and homes. However, in the 18th century, a papal decree had consecrated the arena as a holy site to honor Christian martyrs, which helped protect it from further quarrying. By the 19th century, this protection, combined with the new preservation efforts, solidified its status as a historical and cultural monument.

The 19th century was the era of the “Grand Tour,” and the Colosseum became an essential stop for travelers and intellectuals visiting Rome. It was seen as a symbol of the city’s ancient glory and a testament to the might of the Roman Empire. Writers and artists, including Charles Dickens, visited the monument, often romanticizing its moonlit ruins. This new role as a tourist attraction brought renewed attention and appreciation to the Colosseum's historical significance.

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Glamorous Kodachrome Slides of Booth Models From the 1950s

In the 1950s, booth models—sometimes called “exhibition girls” or “trade show models”—played a glamorous and highly visible role at fairs, conventions, and promotional events. Dressed in stylish outfits that reflected the sleek optimism of postwar design, these women were hired to attract attention, demonstrate new products, and embody the excitement of modern consumer culture.

They could be found at automobile shows, technology fairs, and even local exhibitions, posing with cars, appliances, or gadgets while engaging visitors with charm and professionalism. The booth model of the 1950s was as much a symbol of the era’s fascination with progress and modern living as the products they showcased.

Take a look at these glamorous Kodachrome slides capturing booth models from the mid-1950s in all their vivid color and timeless charm.

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The Mysterious Disappearance of Frederick Valentich in 1978

Frederick Valentich was a 20-year-old Australian pilot who disappeared on October 21, 1978, while flying a Cessna 182L light aircraft over the Bass Strait. He was on a 125-nautical-mile flight from Moorabbin Airport to King Island.

Shortly before his disappearance, Valentich contacted Melbourne air traffic control to report that he was being followed by an unidentified aircraft about 1,000 feet above him. He described the craft as having a shiny, metallic surface and a green light. He said it was “orbiting” above him and that his engine had begun running roughly. His last words were, “It’s not an aircraft,” before his transmission was interrupted by 17 seconds of “metallic, scraping sounds” and then silence.

An extensive four-day search was conducted, but no trace of Valentich or his plane was ever found. The cause of his disappearance remains unknown and has led to several theories.

Some officials from the Department of Transport speculated that Valentich, who had about 150 hours of flying time and a poor record in his pilot training, may have become disoriented while flying over water at night. This could have led him to inadvertently fly his plane upside down, causing his engine to run roughly and leading him to mistake his own lights reflecting on the water, or celestial objects like Venus, Mars, Mercury, and the star Antares, for another aircraft.

The possibility of a sudden mechanical failure, such as engine trouble or a structural problem, has also been considered, which could have led to a crash.

Due to conflicting reasons he gave for his flight and his history of a difficult time with flight exams, some have proposed that Valentich staged his own disappearance.

Given Valentich’s descriptions and his interest in UFOs, some believe he was abducted or his plane was destroyed by an unidentified flying object. This is a popular theory among ufologists. They believe that a UFO either destroyed his aircraft or abducted him. This theory is supported by late reports of an erratically moving green light in the sky in the same area on the night of the disappearance. A photo taken by a plumber on the same night near Cape Otway reportedly shows a fast-moving object exiting the water.

Frederick Valentich reported seeing some sort of aircraft just before he disappeared. (The Australian)

The case is still listed as “Unsolved” by the Australian Department of Transport. Valentich’s transmission has become one of the most famous in UFO lore, often cited as evidence of extraterrestrial encounters. His family, especially his father, believed until their deaths that Frederick was taken by a UFO.

Leendert Jurriaan Jordaan: Master of Dutch Political Satire in the 20th Century

Leendert Jurriaan Jordaan (1885–1980) was a Dutch political cartoonist, caricaturist, illustrator, and critic. Born in Amsterdam, he studied at the Rijksakademie van Beeldende Kunsten before building a long career as one of the Netherlands’ sharpest satirical artists.

His work appeared in leading publications such as De Notenkraker, Vrij Nederland, Het Parool, De Groene Amsterdammer, and Het Leven, where he became known for his bold use of line, strong contrasts of light and dark, and his skill in caricature. Jordaan used humor, allegory, and sharp exaggeration to comment on political and social issues, often targeting Dutch politicians like Hendrik Colijn and international figures such as Hitler during the turbulent decades of the 20th century.

In addition to his cartoons, Jordaan also wrote as a film critic, helping to shape early Dutch conversations about cinema. Though he retired from regular cartooning in the early 1960s, his influence lived on in the next generation of Dutch cartoonists. Remembered for his wit, artistry, and fearless political engagement, Jordaan holds an important place in the history of Dutch illustration and satire.

Here is a collection of powerful cartoons by Leendert Jurriaan Jordaan, capturing the sharp wit and bold vision of one of the Netherlands’ most influential satirical artists.

Tegen de Tariefwet Wacht u voor den Hond!, 1913

Tegen de Tariefwet, Drukkende Bescherming, 1913

De Rattenvanger van Hamelen, De Groene Amsterdammer, October 7, 1916

Demonstreert met de Algemeene & Mercurius, circa 1920

Voor ons drieën is het grootste gevaar, 1922

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