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Less celebrated than their male counterparts, women have been vital contributors to the arts. Works by women of the colonial era represent treasured accomplishments of American culture and still impress us today, centuries after their creation. The breadth of creative expression is as impressive as the women themselves. In American Colonial Women and Their Art: A Chronological Encyclopedia, Mary Ellen Snodgrass follows the history of creative expression from the early 1600s to the late 1700s. Drawing upon primary sources—such as letters, diaries, travel notes, and journals—this timeline encompasses a wide variety of artistic accomplishment, such as: Stitchery, quilting, and rug hooking Painting, sculpture, and sketches Essays, poems, and other writings Dance, acting, and oratory Musical composition and performance Individual talents highlighted in this volume include miniature portraits by Mary Roberts, pastel likenesses by Henrietta Dering Johnston, stagecraft by Elizabeth Sampson Sullivan Ashbridge, basketry by Namumpum Weetamoo, dance by Mary Stagg, metalwork by blacksmith Elizabeth Hager Pratt, calligraphy by Anna “Anastasia” Thomas Wüster, city planning by Deborah Dunch Moody, poems and essays by Phillis Wheatley, and fabric design by Anne Pogue McGinty. Featuring appendices that list individuals by skill and by state—as well as a glossary that clarifies the parameters of genres—this volume is essential to the study of Colonial women’s art. Resurrecting the efforts of women to record, adorn, and illustrate the spirit of their times, American Colonial Women and Their Art is a valuable resource that will be of interest to students and scholars of gender and women’s studies, art history, and American history.
The Congressional Record is the official record of the proceedings and debates of the United States Congress. It is published daily when Congress is in session. The Congressional Record began publication in 1873. Debates for sessions prior to 1873 are recorded in The Debates and Proceedings in the Congress of the United States (1789-1824), the Register of Debates in Congress (1824-1837), and the Congressional Globe (1833-1873)
In 1889 tradition-minded women, including many from Virginia's most prominent families, formed the Association for the Preservation of Virginia Antiquities (APVA), the first state preservation organization in the United States. And where better? After all, who else could so readily claim both colonial and Confederate heritage, both Jamestown and the White House of the Confederacy? In Preserving the Old Dominion cultural historian James Lindgren shows how the preservation movement strove to rebuild a revered past upon the foundations of its historic structures. While vividly capturing entertaining incidents - white-gloved pilgrimages, a Richmond costume ball, even a search for a Jamestown Rock to set back those arriviste New Englanders - and introducing battling (often with each other) preservationists, Lindgren also explores the serious consequences of these sometimes amusing efforts. He shows how the reinvention of the past shaped contemporary Virginia and the South. In a very real sense the battle between North and South was replayed at the end of the nineteenth century in a contest to control the nation's past. The AVPA's significance lies not only in the fact that it played a major role in the resurgence of conservatism in the late nineteenth-century South, but that it fits into a larger American picture where tradition-minded Americans tapped their history - whether imagined or real - to shape their identity. Preserving the Old Dominion incorporates history, anthropology, architecture, archaeology, religion, and politics; it will be of interest to historians in all fields as well as women's studies scholars.