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Fort Dodge was founded in 1850 as a military post to police the Iowa frontier. A subsequent land boom created fortunes that were reinvested in the local economy. The town soon earned the nickname "Mineral City" because of the extensive deposits of coal, gypsum, limestone, and clay. By 1900, the city was a rail center and the world's largest producer of gypsum products. With a highly diversified economy, the city prospered and by World War I was able to claim to have more skyscrapers per capita than any other city in the Midwest and beautiful public buildings designed by some of the nation's leading architects. Between 1900 and 1925, Fort Dodge enjoyed the role as an important political center and the home of two U.S. senators, the director of the U.S. Mint, the solicitor of the Department of the Treasury, a judge on the U.S. Court of Appeals, Eighth Circuit, and the first presidential press secretary and speechwriter. Sons and daughters of the community went on to establish national reputations in art, music, literature, science, and journalism. Images used in this volume come primarily from the archives of the Webster County Historical Society and were chosen to represent the changing character of the community from 1850 to 1970.
Fort Dodge was founded in 1850 as a military post to police the Iowa frontier. A subsequent land boom created fortunes that were reinvested in the local economy. The town soon earned the nickname "Mineral City" because of the extensive deposits of coal, gypsum, limestone, and clay. By 1900, the city was a rail center and the world's largest producer of gypsum products. With a highly diversified economy, the city prospered and by World War I was able to claim to have more skyscrapers per capita than any other city in the Midwest and beautiful public buildings designed by some of the nation's leading architects. Between 1900 and 1925, Fort Dodge enjoyed the role as an important political center and the home of two U.S. senators, the director of the U.S. Mint, the solicitor of the Department of the Treasury, a judge on the U.S. Court of Appeals, Eighth Circuit, and the first presidential press secretary and speechwriter. Sons and daughters of the community went on to establish national reputations in art, music, literature, science, and journalism. Images used in this volume come primarily from the archives of the Webster County Historical Society and were chosen to represent the changing character of the community from 1850 to 1970.
At least fifty-six frontier forts once stood in, or within view of, what is now the state of Iowa. The earliest date to the 1680s, while the latest date to the Dakota uprising of 1862. Some were vast compounds housing hundreds of soldiers; others consisted of a few sheds built by a trader along a riverbank. Regardless of their size and function—William Whittaker and his contributors include any compound that was historically called a fort, whether stockaded or not, as well as all military installations—all sought to control and manipulate Indians to the advantage of European and American traders, governments, and settlers. Frontier Forts of Iowa draws extensively upon the archaeological and historical records to document this era of transformation from the seventeenth-century fur trade until almost all Indians had been removed from the region. The earliest European-constructed forts along the Mississippi, Des Moines, and Missouri rivers fostered a complex relationship between Indians and early traders. After the Louisiana Purchase of 1804, American military forts emerged in the Upper Midwest, defending the newly claimed territories from foreign armies, foreign traders, and foreign-supported Indians. After the War of 1812, new forts were built to control Indians until they could be moved out of the way of American settlers; forts of this period, which made extensive use of roads and trails, teamed a military presence with an Indian agent who negotiated treaties and regulated trade. The final phase of fort construction in Iowa occurred in response to the Spirit Lake massacre and the Dakota uprising; the complete removal of the Dakota in 1863 marked the end of frontier forts in a state now almost completely settled by Euro-Americans. By focusing on the archaeological evidence produced by many years of excavations and by supporting their words with a wealth of maps and illustrations, the authors uncover the past and connect it with the real history of real places. In so doing they illuminate the complicated and dramatic history of the Upper Midwest in a time of enormous change. Past is linked to present in the form of a section on visiting original and reconstructed forts today. Contributors: Gayle F. Carlson Jeffrey T. Carr Lance M. Foster Kathryn E. M. Gourley Marshall B. McKusick Cindy L. Nagel David J. Nolan Cynthia L. Peterson Leah D. Rogers Regena Jo Schantz Christopher M. Schoen Vicki L. Twinde-Javner William E. Whittaker
This biographical dictionary of some 3,000 photographers (and workers in related trades), active in a vast area of North America before 1866, is based on extensive research and enhanced by some 240 illustrations, most of which are published here for the first time. The territory covered extends from central Canada through Mexico and includes the United States from the Mississippi River west to, but not including, the Rocky Mountain states. Together, this volume and its predecessor, Pioneer Photographers of the Far West: A Biographical Dictionary, 1840-1865, comprise an exhaustive survey of early photographers in North America and Central America, excluding the eastern United States and eastern Canada. This work is distinguished by the large number of entries, by the appealing narratives that cover both professional and private lives of the subjects, and by the painstaking documentation. It will be an essential reference work for historians, libraries, and museums, as well as for collectors of and dealers in early American photography. In addition to photographers, the book includes photographic printers, retouchers, and colorists, and manufacturers and sellers of photographic apparatus and stock. Because creators of moving panoramas and optical amusements such as dioramas and magic lantern performances often fashioned their works after photographs, the people behind those exhibitions are also discussed.